#club-furies — Public Fediverse posts

CF Signals: DaShadow – Nuclear Fusion [Subsist Records]

DaShadow —the project of Dutch producer Ronald Kuijten— approaches music through a direct relationship with machines. Analog synthesis, Eurorack systems, and hardware occupy a central role within a creative process based on the gradual construction of sound, where every element takes shape through physical interaction with the instruments themselves. There is something almost artisanal in his approach to electronic music, a methodology where subtle imperfections, unexpected modulations, and the material response of each machine become active participants in the compositional process.

His latest album for Subsist Records significantly expands that exploration through an approach to acid that resists any simplified reading of the genre. Throughout the record, multiple interpretations of the TB-303 language coexist. Hypnotic sequences, expansive melodic developments, and structures where atmosphere and rhythm share equal importance. Acid ceases to function solely as a source of propulsion and becomes a narrative tool capable of shaping space, tension, and emotional depth.

https://clubfuries.com.mx/2026/06/01/cfs-the-lost-boys-subsist-283d/

Much of the album’s sonic identity emerges from the use of iconic instruments such as the Roland TB-303, SH-101, Alpha Juno, Dreadbox Abyss, Yocto 808, Nava 909, and various Kawai synthesizers. Beyond their historical significance, these machines contribute a distinctive material quality to the sound itself. Microscopic imperfections, organic textures, and subtle fluctuations introduce a sense of life that remains difficult to reproduce through purely digital processes. Every frequency seems to retain traces of its physical origin, as though the electricity that generated it remains embedded within the composition.

The result is a work that explores acid from multiple perspectives without sacrificing cohesion or direction. Melody, spatiality, and rhythmic energy intertwine within an immersive narrative that balances experimentation and functionality. In doing so, DaShadow expands the familiar boundaries of the genre, revealing new expressive possibilities within a tradition that continues to evolve through artists capable of reimagining it with a distinctive voice.

https://soundcloud.com/clubfuriess/cfs-dashadow-nuclear-fusion-subsist284d

Nuclear Fusion stands as one of the album’s most compelling moments. Its title references the physical process through which light atomic nuclei merge and release immense amounts of energy, the same phenomenon that powers stars and suns across the universe. That image finds a remarkably precise counterpart in the behaviour of the track itself. From the opening moments, the sound unfolds into a vast and silent expanse where cosmic immensity slowly reveals itself. Sequences progress with patience, allowing perception to adjust to the scale of the landscape emerging around the listener.

There is something deeply contemplative about this introduction, as though a spacecraft were drifting through unknown regions of deep space. Gradually, the various layers begin to attract one another, accumulating density and potential energy. Momentum intensifies until melody, rhythm, and texture converge into a single sonic body. From that moment onward, everything becomes fusion. Contained energy released in slow waves, acidic currents intertwining like stellar matter, and a persistent sensation of expansion that seems to extend far beyond the boundaries of the track itself.

Label: Subsist Records
Artist: DaShadow
Title: Planetary Discovery
Catalogue: SUBSIST.284D
Artwork by Malasombra
Mastered at Magic Studio

Release Date: June 23, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Leaving Earth
2. The Sun
3. Thermal Radiation
4. Zodiacal Light
5. Molecular Cloud
6. Asteroid field
7. Interplanetary dust cloud
8. Dust storms on Mars
9. Meteor shower
10. Pre- Solar nebula
11. Nuclear Fusion
12. Back to earth

DaShadow

SoundCloud | Instagram | Linktree

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: DaShadow – Nuclear Fusion [Subsist Records]

DaShadow —the project of Dutch producer Ronald Kuijten— approaches music through a direct relationship with machines. Analog synthesis, Eurorack systems, and hardware occupy a central role within a creative process based on the gradual construction of sound, where every element takes shape through physical interaction with the instruments themselves. There is something almost artisanal in his approach to electronic music, a methodology where subtle imperfections, unexpected modulations, and the material response of each machine become active participants in the compositional process.

His latest album for Subsist Records significantly expands that exploration through an approach to acid that resists any simplified reading of the genre. Throughout the record, multiple interpretations of the TB-303 language coexist. Hypnotic sequences, expansive melodic developments, and structures where atmosphere and rhythm share equal importance. Acid ceases to function solely as a source of propulsion and becomes a narrative tool capable of shaping space, tension, and emotional depth.

https://clubfuries.com.mx/2026/06/01/cfs-the-lost-boys-subsist-283d/

Much of the album’s sonic identity emerges from the use of iconic instruments such as the Roland TB-303, SH-101, Alpha Juno, Dreadbox Abyss, Yocto 808, Nava 909, and various Kawai synthesizers. Beyond their historical significance, these machines contribute a distinctive material quality to the sound itself. Microscopic imperfections, organic textures, and subtle fluctuations introduce a sense of life that remains difficult to reproduce through purely digital processes. Every frequency seems to retain traces of its physical origin, as though the electricity that generated it remains embedded within the composition.

The result is a work that explores acid from multiple perspectives without sacrificing cohesion or direction. Melody, spatiality, and rhythmic energy intertwine within an immersive narrative that balances experimentation and functionality. In doing so, DaShadow expands the familiar boundaries of the genre, revealing new expressive possibilities within a tradition that continues to evolve through artists capable of reimagining it with a distinctive voice.

https://soundcloud.com/clubfuriess/cfs-dashadow-nuclear-fusion-subsist284d

Nuclear Fusion stands as one of the album’s most compelling moments. Its title references the physical process through which light atomic nuclei merge and release immense amounts of energy, the same phenomenon that powers stars and suns across the universe. That image finds a remarkably precise counterpart in the behaviour of the track itself. From the opening moments, the sound unfolds into a vast and silent expanse where cosmic immensity slowly reveals itself. Sequences progress with patience, allowing perception to adjust to the scale of the landscape emerging around the listener.

There is something deeply contemplative about this introduction, as though a spacecraft were drifting through unknown regions of deep space. Gradually, the various layers begin to attract one another, accumulating density and potential energy. Momentum intensifies until melody, rhythm, and texture converge into a single sonic body. From that moment onward, everything becomes fusion. Contained energy released in slow waves, acidic currents intertwining like stellar matter, and a persistent sensation of expansion that seems to extend far beyond the boundaries of the track itself.

Label: Subsist Records
Artist: DaShadow
Title: Planetary Discovery
Catalogue: SUBSIST.284D
Artwork by Malasombra
Mastered at Magic Studio

Release Date: June 23, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Leaving Earth
2. The Sun
3. Thermal Radiation
4. Zodiacal Light
5. Molecular Cloud
6. Asteroid field
7. Interplanetary dust cloud
8. Dust storms on Mars
9. Meteor shower
10. Pre- Solar nebula
11. Nuclear Fusion
12. Back to earth

DaShadow

SoundCloud | Instagram | Linktree

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Krzyzøk – Omen [Arctronic Records]

Polish-Spanish artist, producer, and DJ Krzyzøk, now based in Madrid, makes his debut on one of our favorite labels. His arrival on Arctronic Records comes in the form of Echoes From Warsaw, a four-track EP that dives deep into the more forceful and functional territories of contemporary techno. It is a release that balances immediate energy with a refined sense of structure and control.

Specializing in raw techno and hardgroove, while drawing influence from the classic sounds of the 1990s and early 2000s alongside EBM, new wave, and European synth-driven traditions, Krzyzøk has developed a sound that treats the dancefloor as a space of sustained tension. His productions move through insistent rhythms, carefully measured progressions, and a constant awareness of the physical momentum generated by repetition and groove.

https://clubfuries.com.mx/2026/04/02/cfp-revelation-sequence-hemodynamic-adjustment-arc011/

Throughout Echoes From Warsaw, historical influences are absorbed into a contemporary language that avoids easy nostalgia. The past functions as material rather than destination. Each track establishes its own identity while contributing to the coherence of the whole, creating a narrative where groove, pressure, and depth evolve together.

https://soundcloud.com/clubfuriess/cfs-krzyzok-ome-arc012

Omen stands out as one of the EP’s most compelling moments. From the very beginning, its intensity is undeniable, yet it never relies on brute force to achieve its effect. There is an unexpected softness in the way its elements are assembled. The textures possess a velvety quality that cushions the impact without diminishing its power, generating a persistent sense of propulsion that quickly becomes hypnotic.

Once the track settles into its central momentum, layers begin moving across one another in seemingly different directions, creating friction, tension, and interaction. What makes the piece particularly engaging is that these contrasting movements never dissolve into chaos. Instead, they become part of a larger architecture where separation itself generates cohesion. The result is a state of continuous motion, an elegant and relentless rhythmic machine that keeps attention suspended while advancing with unwavering precision toward increasingly deeper territory.

Label: Arctronic Records
Artist: Krzyzøk
Title: Echoes From Warsaw
Catalogue: ARC012

Release Date: June 26, 2026
Support & Buy: Bandcamp

Credits
Written & produced: Krzyzøk.
Mastered: Endplate.
Artwork: Arcfilter.

Tracklist
1. Echoes From Warsaw
2. Klockform
3. Glittering In The Dark
4. Omen

Krzyzøk

SoundCloud | Instagram | TikTok | YouTube | Linktree

Arctronic Records

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Krzyzøk – Omen [Arctronic Records]

Polish-Spanish artist, producer, and DJ Krzyzøk, now based in Madrid, makes his debut on one of our favorite labels. His arrival on Arctronic Records comes in the form of Echoes From Warsaw, a four-track EP that dives deep into the more forceful and functional territories of contemporary techno. It is a release that balances immediate energy with a refined sense of structure and control.

Specializing in raw techno and hardgroove, while drawing influence from the classic sounds of the 1990s and early 2000s alongside EBM, new wave, and European synth-driven traditions, Krzyzøk has developed a sound that treats the dancefloor as a space of sustained tension. His productions move through insistent rhythms, carefully measured progressions, and a constant awareness of the physical momentum generated by repetition and groove.

https://clubfuries.com.mx/2026/04/02/cfp-revelation-sequence-hemodynamic-adjustment-arc011/

Throughout Echoes From Warsaw, historical influences are absorbed into a contemporary language that avoids easy nostalgia. The past functions as material rather than destination. Each track establishes its own identity while contributing to the coherence of the whole, creating a narrative where groove, pressure, and depth evolve together.

https://soundcloud.com/clubfuriess/cfs-krzyzok-ome-arc012

Omen stands out as one of the EP’s most compelling moments. From the very beginning, its intensity is undeniable, yet it never relies on brute force to achieve its effect. There is an unexpected softness in the way its elements are assembled. The textures possess a velvety quality that cushions the impact without diminishing its power, generating a persistent sense of propulsion that quickly becomes hypnotic.

Once the track settles into its central momentum, layers begin moving across one another in seemingly different directions, creating friction, tension, and interaction. What makes the piece particularly engaging is that these contrasting movements never dissolve into chaos. Instead, they become part of a larger architecture where separation itself generates cohesion. The result is a state of continuous motion, an elegant and relentless rhythmic machine that keeps attention suspended while advancing with unwavering precision toward increasingly deeper territory.

Label: Arctronic Records
Artist: Krzyzøk
Title: Echoes From Warsaw
Catalogue: ARC012

Release Date: June 26, 2026
Support & Buy: Bandcamp

Credits
Written & produced: Krzyzøk.
Mastered: Endplate.
Artwork: Arcfilter.

Tracklist
1. Echoes From Warsaw
2. Klockform
3. Glittering In The Dark
4. Omen

Krzyzøk

SoundCloud | Instagram | TikTok | YouTube | Linktree

Arctronic Records

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: APPLE-K – Current Blackmail [Ketapasando]

A Beautiful Threat is the latest release from APPLE-K on Ketapasando, a two-track exploration of contemporary jungle at its most intense. Sharp breaks, deep low-end pressure, and shadowy atmospheres form the foundation of a release where rave energy and rhythmic precision exist in perfect balance. Both tracks acknowledge the legacy of classic jungle while pushing its language toward heavier and more contemporary territory.

https://clubfuries.com.mx/2026/02/27/im117-draingin-ktp041/

Based in Magdeburg, APPLE-K has developed a distinctive voice within the world of high-intensity broken rhythms. Emerging from the breakcore scene, his productions merge aggressive break programming with an unusual sensitivity toward atmosphere and emotional depth. Since 2020, he has steadily refined a sound where rave culture, modern electronic intensity, and melodic nuance coexist within a cohesive artistic vision.

https://clubfuries.com.mx/2026/05/05/cfr-2026-05-ketapasando-kebradito-remixes-ju-ju/

Current Blackmail revolves around the unmistakable force of the Amen Break, operating between 166 and 168 BPM while balancing atmospheric depth with physical momentum. The title track moves into darker and more introspective territory, creating a tension that never fully resolves and keeping the listener suspended in a constant state of anticipation.

https://soundcloud.com/clubfuriess/cfs-apple-k-current-blackmail-ktpep044

Ghostly pads, granular textures, and distant resonances shape a landscape saturated with unease. The sonic environment feels vast yet strangely confined, like an abandoned industrial structure where every reflection generates new echoes. Above this foundation, the Amen Breaks cut through the mix with surgical precision, fracturing time into waves of continuous motion.

https://clubfuries.com.mx/2026/04/06/cfp-ju-ju-tomillo-cuidado-con-el-gatito-ktpep042/

The energy never erupts outright; it accumulates. Every measure adds pressure to a system that appears perpetually close to collapse without ever crossing that threshold. This is where Current Blackmail reveals its greatest strength. Its ability to sustain a sense of looming threat while the rhythm advances relentlessly, transforming tension into a hypnotic force that lingers long after the final break has faded.

Label: Ketapasando
Artist: APPLE-K
Title: A Beautiful Threat
Catalogue: KTPEP044

Release Date: June 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Current Blackmail
2. What A Beautiful Life

APPLE-K

SoundCloud | Instagram | Bandcamp

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | AMAS & FRITHJOF-MARTIN GRABNER – SRDGN × LPZG: The strictness of Bach, dissolved

Editorial Introduction

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? AMAS and Frithjof-Martin Grabner spent three years finding out.

SRDGN × LPZG is not a reinterpretation. It is a dissection. The duo AMAS — two old friends from southern Germany, one handling production and sound design, the other artistic vision and concept — began the project in the raw isolation of Pula, at the southernmost tip of Sardinia. There, they extracted the rhythmic and tonal skeleton of 14 Bach works and fused them with field recordings of the surrounding landscape, building a hypnotic framework of electronic structures rooted in Minimal, Dub-Techno, and Ambient.

That foundation then traveled to Leipzig, where it met Frithjof-Martin Grabner: solo double bassist, professor at the HMT Leipzig, and one of the most rigorous interpreters of the Baroque tradition in Germany. In an intense session at the historic HMT hall, Grabner improvised freely over the material — not from a score, but from instinct, in the spirit of Miles Davis scoring «Ascenseur pour l’échafaud»: atmosphere over technical perfection. The result blurs the line between analog depth and synthetic texture, between the 18th century and the club.

We spoke with AMAS and with Frithjof-Martin Grabner about the making of a record that is both an act of radical respect and radical transformation.

I. The origin — Sardinia and the idea

01 AMAS & GRABNER

SRDGN × LPZG took three years and two very different geographies to come together. What was the original impulse — what made you decide that Bach was the right starting point for this project?

— A: We didn’t actually think about these specific genres [Ambient and Dub Techno] at the beginning. After our first five releases, which were still very closely oriented toward the rigid structure of classic techno productions, we wanted to break away from this rigid scheme in our next work. The goal was to create tracks that could breathe more freely. We have also always had a great love for Ambient and soundtrack music. Ultimately, we combined both in the 14 tracks: the free approach all the way to tracks in a classic guise. The idea was to produce exactly 14 tracks. 14 is the «Bach number»; he was fascinated by numerology, prime numbers, and cryptograms (B=2+A=1+C=3+H=8=14). This number defined the framework. Afterward, it moved forward intuitively: we listened through Bach’s MIDI directories and looked for interesting sequences we wanted to work with. Before we left for Sardinia, 14 respectable sketches had already been laid out, providing a framework for our musical journey.

— G: By the time I joined the project, the first tracks had already been recorded in Sardinia. The Bach pieces had therefore already been incorporated. It seemed natural for me to draw inspiration from my surroundings, from the incredible complexity and profound depth of Bach’s music, and to improvise during these recordings in Leipzig. The result was a blend of jazzy, contemporary classical and completely free sounds. On top of that, I have been studying Bach in depth for over 40 years. However, it was important to us that Bach’s influence should remain an inspiration rather than being overtly audible.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

02 AMAS

You began in Pula, Sardinia — extracting and digitally dissecting the rhythmic and tonal essence of 14 Bach works while recording the surrounding landscape. What did isolation do to the music? Would the album sound different if it had started in a city studio?

— A: We wanted to go on a musical journey and incorporate the location directly into the music. That changed the fundamental mindset in the production process; it felt less like «production.» Our house was right by the sea with its own garden and access to the water. This contemplative mood, the vastness, and the silence put us into a completely different state of mind compared to our usual studio environment; we weren’t entirely ourselves and could forget almost everything. For us, the isolation was ultimately a blessing. It was late March with incredibly erratic weather—just right for absorbing all the diverse moods, sounds, and living things of the island around us and letting them flow directly into the project. If we listen to the different tracks today, it teleports us right back to that little house by the sea.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

II. The encounter — Leipzig and the double bass

03 AMAS & GRABNER

The session at HMT Leipzig was described as spontaneous improvisation over rudimentary sketches — closer to Miles Davis scoring a silent film than to classical rehearsal. How did you both experience that session in the moment?

— A: After the time on Sardinia, we went to Leipzig to record the tracks with F.M. Grabner. The session took place in one go over an entire day. He played completely freely over our sketches. Working with such a renowned and classically trained musician was surprisingly easy, though that was also due to F.M. Grabner and his easygoing nature, as well as our shared love for jazz, improvisation, and red wine.

-G: At the beginning of our recordings, there was a slight «fear of contact» on my part. This made me question whether I could meet the «expectations» for these improvisations, for this kind of music. That quickly faded with intensive engagement. We moved on to the recordings just a few minutes after listening to the tracks from Sardinia. Particularly interesting was when I played loops onto the first tracks and could then improvise on top of them again. That was a completely new dimension in my forms of expression, which usually tend to have a more «reproducing» character.

04 Grabner

Your career has been built inside the Baroque tradition — Bach Collegium Stuttgart, the Berlin Bach Academy, decades interpreting this repertoire. What does it feel like to approach Bach not as a score to be performed, but as raw material to be dissolved into techno?

— G: The Bachian music, which I obviously know, played more of an inspiring role here. For example, we rearranged, mirrored, inverted, and heavily distorted the notes «b a c h» so that they wouldn’t just «jump out» at the listener. For me, the final result of our production contains so many different facets of musical expression: highly percussive elements, the sonic spectrum of free jazz, all the way to aleatoric music.

05 AMAS

When Grabner’s double bass arrived into the electronic framework you had built in Sardinia, what changed? Was there something in the material that you hadn’t anticipated — something his instrument revealed that the machines couldn’t?

— A: It was as if we were entering a completely new tonal universe. Previously, we had only recorded short cello sections in Stuttgart and then integrated them into our earlier albums; here, we suddenly had entire improvised pieces, which were also played in a much more complex way than simply reproducing “normal” notes. There are bow strokes, and in some cases Frithjof even played the wood with the strings—we had to figure all of that out for ourselves first and then integrate it accordingly. Fortunately, through various technical maneuvers and experiments, the two universes merged quite beautifully, and we were able to combine the perfection and precision of the machines with the analog, organic play of Frithjof.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

III. Bach as material

06 AMAS & GRABNER

The press kit describes this as a «radical reimagining» rather than a translation of Bach. Where is the line between respect for the source and freedom to transform it — and did that line shift over the three years of the project?

— A: Just as we wanted to break away from the logic of common techno productions, the idea was to «free» Bach—who built his music according to almost rigid architectural principles. This often happened intuitively, frequently through unpredictable moments in sound design by sending note sequences through complex effect chains. It was supposed to be an AMAS record first and foremost. Some note sequences were processed so heavily that a layperson might not associate this soundscape directly with Bach—though surprisingly, F.M. Grabner always heard it. In other tracks, however, it was important to us to work explicitly with the original tone sequences. In up to 15 iterations, we kept reducing the material and carving out the «distillate.»

— G: Respect and admiration for the “Fifth Evangelist” are always present. It is precisely this freedom to engage with these roots that has made the current result possible. We have not imposed any limits on ourselves, but have consistently created work with an open-ended outcome.

07 Grabner

You have spent your career teaching and performing Bach with extreme precision. In post-production, your double bass often blurs the line between analog depth and synthetic texture — almost losing its identity as an acoustic instrument. Did that feel like a loss, or a liberation?

— G: I find that totally exciting. The «sonic layers» shift, but all the «played notes and effects» were left intact. Of course, they were distorted, overtone vibrations were made audible in a different way, and so on. In the final result, we experience a fusion of completely different stylistic elements into a new whole.

IV. The sound — Minimal, Dub-Techno, Ambient

08 AMAS & GRABNER

The album moves across Minimal, Dub-Techno and Ambient — and the tracklist reads like a single conceptual arc: Ankunft, Weite, Verirrung… through to Vernunft and Abschied. Was that arc composed intentionally, or did it emerge from the material itself?

— A: From the very beginning, the intention was to make an album with 14 tracks; it wasn’t meant to be a string of individual songs, but rather a single piece with 14 chapters. We wanted to capture our journey at that time musically, and the structure actually came together quite naturally. We always work with a strong concept, an idea that helps us stay on track and focus on the concept. With 14 tracks/chapters, it’s easy to lose sight of the big picture or the central theme, but thanks to our clear concept from the start, that fortunately didn’t happen to us. Frithjof was also part of the concept from the very beginning; he just didn’t know it yet.

— G: The structure, the sequence and the 14 tracks were all part of Philip and David’s plan from the very beginning. The fact that the ‘dramaturgy’ has turned out so cohesive is down to the interplay within the music, the arrangement of the tracks and the constant re-examination of them. This is the result of Philip and David’s immense hard work.

https://open.spotify.com/intl-es/track/20f8plybp9ThT4pOlR4SnN

09 AMAS

Your sound has been described as multilayer, melodic and warm — personal and always conceptual. How do you balance those qualities when the source material is as structured and mathematical as Bach? Where does the warmth come from in a record built on Baroque rigor?

— A: Debussy once said: «Music is what happens between the notes.» Perhaps that is exactly what reflects the counter-design to the mathematical rigor of Bach. Between these two poles, we transport a large spectrum of personal states—melancholy, vulnerability, but also vitality. That is what art should fundamentally always do. The warmth also comes from our sound design. Field recordings are an essential part of the sound. From the voices of the neighbors to the sound of the sea, bird chirping, or the sound of a metallic lamp bowl, everything was co-processed. Especially that plastic chandelier in WEITE almost managed to sound like a synthesizer. Furthermore, it was important to us to send the central instrument—the double bass—into the exact same acoustic «space» across all tracks. For this, we developed our own preset based on an Eventide reverb.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

V. The release — vinyl, limited edition, AMAS Studio

10 AMAS & GRABNER

SRDGN × LPZG comes out as a limited double LP — 200 copies worldwide, 180g vinyl, a 3D effect cover. For a record that began in isolation in Sardinia and was shaped by improvisation in Leipzig, what does the physical object mean? Why does this music need to exist on vinyl?

— A: «Audiophile» means to us that we rely on 180g vinyl. We put a lot of love for detail into our physical releases and have been working since day one with the team from Matter of Fact in Güstrow, who do fantastic work. Ultimately, it is most likely an album for the HiFi system and especially for the turntable; the vinyl mastering [by Brian Sanhaji / Calyx Mastering] is simply outstanding here and brings the entire depth and complexity of all 14 tracks into the ear with appropriate warmth and intensity.

— G: The tactile experience of holding such a ‘heavy’ record in your hand is something quite special. I’ve heard from students and colleagues that they’d love to own this ‘physical LP’ from AMAS Studio and add it to their collection. Of course, platforms like Apple Music or Spotify are widely used, but putting a record on the turntable at home and listening to it (with a glass of red wine in hand) is a real treat.

11 AMAS

This is AMAS006 — the sixth release on your own label. What does it mean to release something this ambitious on AMAS Studio rather than an established electronic label? What does keeping it in-house protect?

— A: We just want to go at our own pace, produce when we feel like it, and approach our art the way we see fit. We don’t rule out releasing on another label at all; it just happened this way. You gain certain freedoms, but you also take on responsibilities, like paying the bills on time, haha… In the end, it’s just a blessing to be able to manage the number of people involved yourself—from mastering to the photo shoot.

VI. What this means

12 Grabner

You have performed in symphony halls across Europe, Asia and America, and taught at conservatories for decades. How do you think your students — or your peers in the classical world — will receive a record that places your double bass inside Dub-Techno and Ambient structures?

— G: Whenever I told colleagues with my classical background about our project, there were questioning looks and rather a lack of understanding. As soon as the music was played (in a quiet setting and over a good sound system), there was enthusiasm.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

13 AMAS & GRABNER

SRDGN × LPZG sits between two worlds — the Baroque canon and the electronic underground — without fully belonging to either. Who do you imagine listening to this record, and what do you want them to take away from it?

— A: There are pieces for the club or festivals, but also for the car or an evening at home with a glass of red wine, one track or another is suitable. We are proud that we were able to implement the concept so stringently. AMAS is allowed to challenge the listener and occasionally leave familiar listening paths.

— G: Ever since our music became available to listen to, I have received nothing but positive feedback. This has come from listeners of my own generation as well as from classical music enthusiasts, jazz fans, techno and pop listeners of all ages, right through to young people whose musical tastes have not yet been fully formed. Realy incredible!

https://clubfuries.com.mx/2026/06/03/cfr-2026-06-amas-fm-grabner/

Editorial Closing

SRDGN × LPZG is a record that shouldn’t exist — and that is precisely why it does. The distance between Johann Sebastian Bach and Dub-Techno is not a contradiction to be resolved; in the hands of AMAS and Frithjof-Martin Grabner, it becomes a creative space that neither tradition could have opened alone. Three years, two geographies, one radical act of listening. Out June 5th on AMAS Studio.

https://open.spotify.com/intl-es/album/08iZXlHzr3fy5O9yIOrSKW

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

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Club Furies

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CF Interview | AMAS & FRITHJOF-MARTIN GRABNER – SRDGN × LPZG: The strictness of Bach, dissolved

Editorial Introduction

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? AMAS and Frithjof-Martin Grabner spent three years finding out.

SRDGN × LPZG is not a reinterpretation. It is a dissection. The duo AMAS — two old friends from southern Germany, one handling production and sound design, the other artistic vision and concept — began the project in the raw isolation of Pula, at the southernmost tip of Sardinia. There, they extracted the rhythmic and tonal skeleton of 14 Bach works and fused them with field recordings of the surrounding landscape, building a hypnotic framework of electronic structures rooted in Minimal, Dub-Techno, and Ambient.

That foundation then traveled to Leipzig, where it met Frithjof-Martin Grabner: solo double bassist, professor at the HMT Leipzig, and one of the most rigorous interpreters of the Baroque tradition in Germany. In an intense session at the historic HMT hall, Grabner improvised freely over the material — not from a score, but from instinct, in the spirit of Miles Davis scoring «Ascenseur pour l’échafaud»: atmosphere over technical perfection. The result blurs the line between analog depth and synthetic texture, between the 18th century and the club.

We spoke with AMAS and with Frithjof-Martin Grabner about the making of a record that is both an act of radical respect and radical transformation.

I. The origin — Sardinia and the idea

01 AMAS & GRABNER

SRDGN × LPZG took three years and two very different geographies to come together. What was the original impulse — what made you decide that Bach was the right starting point for this project?

— A: We didn’t actually think about these specific genres [Ambient and Dub Techno] at the beginning. After our first five releases, which were still very closely oriented toward the rigid structure of classic techno productions, we wanted to break away from this rigid scheme in our next work. The goal was to create tracks that could breathe more freely. We have also always had a great love for Ambient and soundtrack music. Ultimately, we combined both in the 14 tracks: the free approach all the way to tracks in a classic guise. The idea was to produce exactly 14 tracks. 14 is the «Bach number»; he was fascinated by numerology, prime numbers, and cryptograms (B=2+A=1+C=3+H=8=14). This number defined the framework. Afterward, it moved forward intuitively: we listened through Bach’s MIDI directories and looked for interesting sequences we wanted to work with. Before we left for Sardinia, 14 respectable sketches had already been laid out, providing a framework for our musical journey.

— G: By the time I joined the project, the first tracks had already been recorded in Sardinia. The Bach pieces had therefore already been incorporated. It seemed natural for me to draw inspiration from my surroundings, from the incredible complexity and profound depth of Bach’s music, and to improvise during these recordings in Leipzig. The result was a blend of jazzy, contemporary classical and completely free sounds. On top of that, I have been studying Bach in depth for over 40 years. However, it was important to us that Bach’s influence should remain an inspiration rather than being overtly audible.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

02 AMAS

You began in Pula, Sardinia — extracting and digitally dissecting the rhythmic and tonal essence of 14 Bach works while recording the surrounding landscape. What did isolation do to the music? Would the album sound different if it had started in a city studio?

— A: We wanted to go on a musical journey and incorporate the location directly into the music. That changed the fundamental mindset in the production process; it felt less like «production.» Our house was right by the sea with its own garden and access to the water. This contemplative mood, the vastness, and the silence put us into a completely different state of mind compared to our usual studio environment; we weren’t entirely ourselves and could forget almost everything. For us, the isolation was ultimately a blessing. It was late March with incredibly erratic weather—just right for absorbing all the diverse moods, sounds, and living things of the island around us and letting them flow directly into the project. If we listen to the different tracks today, it teleports us right back to that little house by the sea.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

II. The encounter — Leipzig and the double bass

03 AMAS & GRABNER

The session at HMT Leipzig was described as spontaneous improvisation over rudimentary sketches — closer to Miles Davis scoring a silent film than to classical rehearsal. How did you both experience that session in the moment?

— A: After the time on Sardinia, we went to Leipzig to record the tracks with F.M. Grabner. The session took place in one go over an entire day. He played completely freely over our sketches. Working with such a renowned and classically trained musician was surprisingly easy, though that was also due to F.M. Grabner and his easygoing nature, as well as our shared love for jazz, improvisation, and red wine.

-G: At the beginning of our recordings, there was a slight «fear of contact» on my part. This made me question whether I could meet the «expectations» for these improvisations, for this kind of music. That quickly faded with intensive engagement. We moved on to the recordings just a few minutes after listening to the tracks from Sardinia. Particularly interesting was when I played loops onto the first tracks and could then improvise on top of them again. That was a completely new dimension in my forms of expression, which usually tend to have a more «reproducing» character.

04 Grabner

Your career has been built inside the Baroque tradition — Bach Collegium Stuttgart, the Berlin Bach Academy, decades interpreting this repertoire. What does it feel like to approach Bach not as a score to be performed, but as raw material to be dissolved into techno?

— G: The Bachian music, which I obviously know, played more of an inspiring role here. For example, we rearranged, mirrored, inverted, and heavily distorted the notes «b a c h» so that they wouldn’t just «jump out» at the listener. For me, the final result of our production contains so many different facets of musical expression: highly percussive elements, the sonic spectrum of free jazz, all the way to aleatoric music.

05 AMAS

When Grabner’s double bass arrived into the electronic framework you had built in Sardinia, what changed? Was there something in the material that you hadn’t anticipated — something his instrument revealed that the machines couldn’t?

— A: It was as if we were entering a completely new tonal universe. Previously, we had only recorded short cello sections in Stuttgart and then integrated them into our earlier albums; here, we suddenly had entire improvised pieces, which were also played in a much more complex way than simply reproducing “normal” notes. There are bow strokes, and in some cases Frithjof even played the wood with the strings—we had to figure all of that out for ourselves first and then integrate it accordingly. Fortunately, through various technical maneuvers and experiments, the two universes merged quite beautifully, and we were able to combine the perfection and precision of the machines with the analog, organic play of Frithjof.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

III. Bach as material

06 AMAS & GRABNER

The press kit describes this as a «radical reimagining» rather than a translation of Bach. Where is the line between respect for the source and freedom to transform it — and did that line shift over the three years of the project?

— A: Just as we wanted to break away from the logic of common techno productions, the idea was to «free» Bach—who built his music according to almost rigid architectural principles. This often happened intuitively, frequently through unpredictable moments in sound design by sending note sequences through complex effect chains. It was supposed to be an AMAS record first and foremost. Some note sequences were processed so heavily that a layperson might not associate this soundscape directly with Bach—though surprisingly, F.M. Grabner always heard it. In other tracks, however, it was important to us to work explicitly with the original tone sequences. In up to 15 iterations, we kept reducing the material and carving out the «distillate.»

— G: Respect and admiration for the “Fifth Evangelist” are always present. It is precisely this freedom to engage with these roots that has made the current result possible. We have not imposed any limits on ourselves, but have consistently created work with an open-ended outcome.

07 Grabner

You have spent your career teaching and performing Bach with extreme precision. In post-production, your double bass often blurs the line between analog depth and synthetic texture — almost losing its identity as an acoustic instrument. Did that feel like a loss, or a liberation?

— G: I find that totally exciting. The «sonic layers» shift, but all the «played notes and effects» were left intact. Of course, they were distorted, overtone vibrations were made audible in a different way, and so on. In the final result, we experience a fusion of completely different stylistic elements into a new whole.

IV. The sound — Minimal, Dub-Techno, Ambient

08 AMAS & GRABNER

The album moves across Minimal, Dub-Techno and Ambient — and the tracklist reads like a single conceptual arc: Ankunft, Weite, Verirrung… through to Vernunft and Abschied. Was that arc composed intentionally, or did it emerge from the material itself?

— A: From the very beginning, the intention was to make an album with 14 tracks; it wasn’t meant to be a string of individual songs, but rather a single piece with 14 chapters. We wanted to capture our journey at that time musically, and the structure actually came together quite naturally. We always work with a strong concept, an idea that helps us stay on track and focus on the concept. With 14 tracks/chapters, it’s easy to lose sight of the big picture or the central theme, but thanks to our clear concept from the start, that fortunately didn’t happen to us. Frithjof was also part of the concept from the very beginning; he just didn’t know it yet.

— G: The structure, the sequence and the 14 tracks were all part of Philip and David’s plan from the very beginning. The fact that the ‘dramaturgy’ has turned out so cohesive is down to the interplay within the music, the arrangement of the tracks and the constant re-examination of them. This is the result of Philip and David’s immense hard work.

https://open.spotify.com/intl-es/track/20f8plybp9ThT4pOlR4SnN

09 AMAS

Your sound has been described as multilayer, melodic and warm — personal and always conceptual. How do you balance those qualities when the source material is as structured and mathematical as Bach? Where does the warmth come from in a record built on Baroque rigor?

— A: Debussy once said: «Music is what happens between the notes.» Perhaps that is exactly what reflects the counter-design to the mathematical rigor of Bach. Between these two poles, we transport a large spectrum of personal states—melancholy, vulnerability, but also vitality. That is what art should fundamentally always do. The warmth also comes from our sound design. Field recordings are an essential part of the sound. From the voices of the neighbors to the sound of the sea, bird chirping, or the sound of a metallic lamp bowl, everything was co-processed. Especially that plastic chandelier in WEITE almost managed to sound like a synthesizer. Furthermore, it was important to us to send the central instrument—the double bass—into the exact same acoustic «space» across all tracks. For this, we developed our own preset based on an Eventide reverb.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

V. The release — vinyl, limited edition, AMAS Studio

10 AMAS & GRABNER

SRDGN × LPZG comes out as a limited double LP — 200 copies worldwide, 180g vinyl, a 3D effect cover. For a record that began in isolation in Sardinia and was shaped by improvisation in Leipzig, what does the physical object mean? Why does this music need to exist on vinyl?

— A: «Audiophile» means to us that we rely on 180g vinyl. We put a lot of love for detail into our physical releases and have been working since day one with the team from Matter of Fact in Güstrow, who do fantastic work. Ultimately, it is most likely an album for the HiFi system and especially for the turntable; the vinyl mastering [by Brian Sanhaji / Calyx Mastering] is simply outstanding here and brings the entire depth and complexity of all 14 tracks into the ear with appropriate warmth and intensity.

— G: The tactile experience of holding such a ‘heavy’ record in your hand is something quite special. I’ve heard from students and colleagues that they’d love to own this ‘physical LP’ from AMAS Studio and add it to their collection. Of course, platforms like Apple Music or Spotify are widely used, but putting a record on the turntable at home and listening to it (with a glass of red wine in hand) is a real treat.

11 AMAS

This is AMAS006 — the sixth release on your own label. What does it mean to release something this ambitious on AMAS Studio rather than an established electronic label? What does keeping it in-house protect?

— A: We just want to go at our own pace, produce when we feel like it, and approach our art the way we see fit. We don’t rule out releasing on another label at all; it just happened this way. You gain certain freedoms, but you also take on responsibilities, like paying the bills on time, haha… In the end, it’s just a blessing to be able to manage the number of people involved yourself—from mastering to the photo shoot.

VI. What this means

12 Grabner

You have performed in symphony halls across Europe, Asia and America, and taught at conservatories for decades. How do you think your students — or your peers in the classical world — will receive a record that places your double bass inside Dub-Techno and Ambient structures?

— G: Whenever I told colleagues with my classical background about our project, there were questioning looks and rather a lack of understanding. As soon as the music was played (in a quiet setting and over a good sound system), there was enthusiasm.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

13 AMAS & GRABNER

SRDGN × LPZG sits between two worlds — the Baroque canon and the electronic underground — without fully belonging to either. Who do you imagine listening to this record, and what do you want them to take away from it?

— A: There are pieces for the club or festivals, but also for the car or an evening at home with a glass of red wine, one track or another is suitable. We are proud that we were able to implement the concept so stringently. AMAS is allowed to challenge the listener and occasionally leave familiar listening paths.

— G: Ever since our music became available to listen to, I have received nothing but positive feedback. This has come from listeners of my own generation as well as from classical music enthusiasts, jazz fans, techno and pop listeners of all ages, right through to young people whose musical tastes have not yet been fully formed. Realy incredible!

https://clubfuries.com.mx/2026/06/03/cfr-2026-06-amas-fm-grabner/

Editorial Closing

SRDGN × LPZG is a record that shouldn’t exist — and that is precisely why it does. The distance between Johann Sebastian Bach and Dub-Techno is not a contradiction to be resolved; in the hands of AMAS and Frithjof-Martin Grabner, it becomes a creative space that neither tradition could have opened alone. Three years, two geographies, one radical act of listening. Out June 5th on AMAS Studio.

https://open.spotify.com/intl-es/album/08iZXlHzr3fy5O9yIOrSKW

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

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Frithjof-Martin Grabner

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Club Furies

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CF Signals: Tia Ottman – Elastik [EABE]

From the sonic landscapes of Finland, EABE has established itself as a key platform for hypnotic and visceral techno, operating as a meeting point where Nordic austerity is transformed into deeply immersive listening rituals. Through a curatorial vision centred on atmosphere and emotional intensity, the label has built a strong identity that continues to expand through Seremonia, a sublabel that approaches electronic music not merely as functional structure, but as a practice connected to the ancestral, the essential, and the transformative.

EABE’s vision is not concerned with conventional expectations. Its catalogue is devoted to experiences where texture, tension, and emotional depth carry as much weight as physical movement. Each release reinforces an understanding of techno as a contemporary language capable of shaping perception itself, positioning the label among the most compelling outlets for listeners seeking personality, technical precision, and a clearly defined aesthetic direction.

https://clubfuries.com.mx/2026/05/23/cfs-janos-emporio-love-poem-eabe/

Its latest release marks the debut of Tia Ottman on the label. Based in Helsinki, the DJ and producer operates at the intersection of deep house, minimal, and an emotional sensibility that runs throughout her work. Her productions combine immersive grooves, melancholic textures, and atmospheres influenced by contemporary pop language, creating a sound where introspection and dancefloor functionality coexist naturally.

Her creative process is guided by intuition rather than adherence to stylistic formulas. The music develops through the relationship between body, emotion, and movement, resulting in fluid structures, subtle progressions, and carefully constructed sonic environments capable of supporting both collective energy and individual reflection.

Across her productions, emotional depth and rhythmic drive remain inseparable. Melodic elements introduce an affective dimension without interrupting the groove, while the percussive foundations maintain a constant presence that encourages immersion. The strength of her work emerges not through dramatic contrasts, but through gradual transformations that continuously reshape perception.

https://soundcloud.com/clubfuriess/cfs-tia-ottman-elastik-eabe

With this release on EABE, and another forthcoming on The Sound Collective, Tia Ottman continues to solidify a distinctive artistic identity within contemporary electronic music. Her work inhabits a space where club culture, emotional exploration, and questions of identity intersect naturally, resulting in compositions that function equally as dancefloor tools and spaces for introspection.

Elastik showcases those qualities from the very beginning. The track arrives with immediate presence, rapidly developing a dense texture that expands into soundscapes that feel both compact and vast. As it unfolds, melodic flashes emerge like openings within the rhythmic structure, constantly redirecting the listener’s attention. At this point the journey appears to split into multiple possible paths. Deep house, minimal, and techno impulses interact without any one of them taking control, creating a suspended state where each sonic decision opens a new direction. The intensity continues to build until it reaches elastic techno and house resonances that push the track toward its limits, sustaining a tension that never fully breaks but continues to vibrate long after the music has faded.

Label: EABE
Title: Elastik
Artist: Tia Ottman
Catalogue: EABE-LXXXII
Mastered by ODJ Pirkka
Artwork by Aito Kopisto

Release Date: June 17, 2026
Support & Buy: Bandcamp

Tracklist
1. Elastik 05:43
2. Elastik (Type-303 remix) 05:17
3. Elastik (drS remix) 06:45

Tia Ottman

Website | SoundCloud | Beatport | Bandcamp

EABE

SoundCloud | Bandcamp | Instagram | Facebook | Twitter | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Tia Ottman – Elastik [EABE]

From the sonic landscapes of Finland, EABE has established itself as a key platform for hypnotic and visceral techno, operating as a meeting point where Nordic austerity is transformed into deeply immersive listening rituals. Through a curatorial vision centred on atmosphere and emotional intensity, the label has built a strong identity that continues to expand through Seremonia, a sublabel that approaches electronic music not merely as functional structure, but as a practice connected to the ancestral, the essential, and the transformative.

EABE’s vision is not concerned with conventional expectations. Its catalogue is devoted to experiences where texture, tension, and emotional depth carry as much weight as physical movement. Each release reinforces an understanding of techno as a contemporary language capable of shaping perception itself, positioning the label among the most compelling outlets for listeners seeking personality, technical precision, and a clearly defined aesthetic direction.

https://clubfuries.com.mx/2026/05/23/cfs-janos-emporio-love-poem-eabe/

Its latest release marks the debut of Tia Ottman on the label. Based in Helsinki, the DJ and producer operates at the intersection of deep house, minimal, and an emotional sensibility that runs throughout her work. Her productions combine immersive grooves, melancholic textures, and atmospheres influenced by contemporary pop language, creating a sound where introspection and dancefloor functionality coexist naturally.

Her creative process is guided by intuition rather than adherence to stylistic formulas. The music develops through the relationship between body, emotion, and movement, resulting in fluid structures, subtle progressions, and carefully constructed sonic environments capable of supporting both collective energy and individual reflection.

Across her productions, emotional depth and rhythmic drive remain inseparable. Melodic elements introduce an affective dimension without interrupting the groove, while the percussive foundations maintain a constant presence that encourages immersion. The strength of her work emerges not through dramatic contrasts, but through gradual transformations that continuously reshape perception.

https://soundcloud.com/clubfuriess/cfs-tia-ottman-elastik-eabe

With this release on EABE, and another forthcoming on The Sound Collective, Tia Ottman continues to solidify a distinctive artistic identity within contemporary electronic music. Her work inhabits a space where club culture, emotional exploration, and questions of identity intersect naturally, resulting in compositions that function equally as dancefloor tools and spaces for introspection.

Elastik showcases those qualities from the very beginning. The track arrives with immediate presence, rapidly developing a dense texture that expands into soundscapes that feel both compact and vast. As it unfolds, melodic flashes emerge like openings within the rhythmic structure, constantly redirecting the listener’s attention. At this point the journey appears to split into multiple possible paths. Deep house, minimal, and techno impulses interact without any one of them taking control, creating a suspended state where each sonic decision opens a new direction. The intensity continues to build until it reaches elastic techno and house resonances that push the track toward its limits, sustaining a tension that never fully breaks but continues to vibrate long after the music has faded.

Label: EABE
Title: Elastik
Artist: Tia Ottman
Catalogue: EABE-LXXXII
Mastered by ODJ Pirkka
Artwork by Aito Kopisto

Release Date: June 17, 2026
Support & Buy: Bandcamp

Tracklist
1. Elastik 05:43
2. Elastik (Type-303 remix) 05:17
3. Elastik (drS remix) 06:45

Tia Ottman

Website | SoundCloud | Beatport | Bandcamp

EABE

SoundCloud | Bandcamp | Instagram | Facebook | Twitter | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Focussed [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Together, they strike a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a medium for immersion, repetition, and perceptual transformation.

https://clubfuries.com.mx/2026/03/16/cfp-apigenin-kundalini-bht006/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track seems to explore a different variation of the same question. How far can a groove carry the listener when given enough time to unfold?

The journey begins with Focused, a piece that immediately establishes the character of the release. Hypnotic sequences, precise percussion, and a restrained sonic architecture create a feeling of continuous forward motion. Nothing feels rushed. Every modulation, microscopic variation, and subtle frequency shift contributes to sustaining tension while the structure evolves almost imperceptibly.

https://soundcloud.com/clubfuriess/cfs-apigenin-focused-bht007

There is also a sense of depth that extends beyond the purely sonic dimension. The track unfolds across an expanded temporality where past and future coexist within the same current. Echoes of classic hypnotic techno traditions interact with a distinctly contemporary sensibility, creating a compelling dialogue between familiarity and exploration. The result feels almost ritualistic, as though time itself has ceased to fragment and instead flows as a single uninterrupted continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. A space where groove, hypnosis, and depth no longer operate as separate elements, but as different expressions of the same moving force.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Focussed [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Together, they strike a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a medium for immersion, repetition, and perceptual transformation.

https://clubfuries.com.mx/2026/03/16/cfp-apigenin-kundalini-bht006/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track seems to explore a different variation of the same question. How far can a groove carry the listener when given enough time to unfold?

The journey begins with Focused, a piece that immediately establishes the character of the release. Hypnotic sequences, precise percussion, and a restrained sonic architecture create a feeling of continuous forward motion. Nothing feels rushed. Every modulation, microscopic variation, and subtle frequency shift contributes to sustaining tension while the structure evolves almost imperceptibly.

https://soundcloud.com/clubfuriess/cfs-apigenin-focused-bht007

There is also a sense of depth that extends beyond the purely sonic dimension. The track unfolds across an expanded temporality where past and future coexist within the same current. Echoes of classic hypnotic techno traditions interact with a distinctly contemporary sensibility, creating a compelling dialogue between familiarity and exploration. The result feels almost ritualistic, as though time itself has ceased to fragment and instead flows as a single uninterrupted continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. A space where groove, hypnosis, and depth no longer operate as separate elements, but as different expressions of the same moving force.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Alina Valentina – Air Slasher [Schrödinger’s Box]

Alina Valentina moves freely across multiple territories of contemporary electronic music. Acid, electro, synth wave, EBM, and vocal manipulation converge into a distinctive language where influences become raw material for a clearly defined sonic identity. Her approach embraces the physical energy of the dancefloor while maintaining a strong aesthetic and narrative character, balancing bodily impact with conceptual depth.

https://clubfuries.com.mx/2022/02/24/premiere-club-furies-alina-valentina-lost-fellowship-self-released/

That vision takes shape in NPC Dream, an eight-track album released through Schrödinger’s Box, where the producer constructs a journey that continuously shifts between genres, intensities, and emotional states. The record unfolds through constant transformation, avoiding comfort zones and maintaining an ongoing sense of motion. Rather than moving between styles, it uses each one as a different tool for expanding a singular sonic universe.

From the opening moments of Air Slasher, tension emerges through forceful percussion, expansive acid lines, and an atmosphere saturated with electricity. The effect is immediate. Darkness, mystery, and a barely restrained sense of threat circulate throughout the composition, creating a feeling of constant anticipation. Every element seems poised on the verge of eruption, yet the track never loses control of its internal dynamics.

https://soundcloud.com/clubfuriess/cfs-alina-valentina-air-slasher-sbox-022

Further into the album, the title track pushes this direction even further through abrasive electro structures, sharpened synthesizers, and vocal treatments that introduce a distinctly mechanical and unsettling dimension. Here, Alina Valentina’s ability to engage with retro aesthetics becomes especially apparent. Old-school echoes run through the composition, yet they are reshaped through an unmistakably contemporary perspective. The past is not revisited nostalgically but reconfigured as living material, ready to be transformed and projected forward.

Throughout NPC Dream, Alina Valentina demonstrates a remarkable ability to integrate seemingly disparate elements into a coherent and highly personal narrative. The result is an intense, unpredictable work filled with character, where experimentation never feels like disruption for its own sake. Instead, it becomes a natural method for constructing movement, identity, and tension. In that sense, NPC Dream functions as far more than a collection of tracks. It stands as a confident artistic statement, restless and deeply attuned to the evolving mutations of contemporary electronic music.

Label: Schrödinger’s Box
Catalogue: SBOX 022
Artist: Alina Valentina
Title: NPC Dream

Release Date: June 15, 2026
Support & Buy: Bandcamp

Side A
A1 – Air Slasher 4:12
A2 – NPC Dream 4:23
A3 – Echo Of Ecco 5:05
A4 – Mine Cart Madness 4:00
Total – 17:35

Side B
B1 – Pixel Swamp 3:29
B2 – Come Get Some 5:14
B3 – Wishing Engine 4:15
B4 – Light Warrior 4:40
Total – 17:38

Alina Valentina

SoundCloud | Bandcamp | Instagram | Facebook | YouTube | Twitter | Website | Spotify | Linktree

Schrödinger’s Box

SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Alina Valentina – Air Slasher [Schrödinger’s Box]

Alina Valentina moves freely across multiple territories of contemporary electronic music. Acid, electro, synth wave, EBM, and vocal manipulation converge into a distinctive language where influences become raw material for a clearly defined sonic identity. Her approach embraces the physical energy of the dancefloor while maintaining a strong aesthetic and narrative character, balancing bodily impact with conceptual depth.

https://clubfuries.com.mx/2022/02/24/premiere-club-furies-alina-valentina-lost-fellowship-self-released/

That vision takes shape in NPC Dream, an eight-track album released through Schrödinger’s Box, where the producer constructs a journey that continuously shifts between genres, intensities, and emotional states. The record unfolds through constant transformation, avoiding comfort zones and maintaining an ongoing sense of motion. Rather than moving between styles, it uses each one as a different tool for expanding a singular sonic universe.

From the opening moments of Air Slasher, tension emerges through forceful percussion, expansive acid lines, and an atmosphere saturated with electricity. The effect is immediate. Darkness, mystery, and a barely restrained sense of threat circulate throughout the composition, creating a feeling of constant anticipation. Every element seems poised on the verge of eruption, yet the track never loses control of its internal dynamics.

https://soundcloud.com/clubfuriess/cfs-alina-valentina-air-slasher-sbox-022

Further into the album, the title track pushes this direction even further through abrasive electro structures, sharpened synthesizers, and vocal treatments that introduce a distinctly mechanical and unsettling dimension. Here, Alina Valentina’s ability to engage with retro aesthetics becomes especially apparent. Old-school echoes run through the composition, yet they are reshaped through an unmistakably contemporary perspective. The past is not revisited nostalgically but reconfigured as living material, ready to be transformed and projected forward.

Throughout NPC Dream, Alina Valentina demonstrates a remarkable ability to integrate seemingly disparate elements into a coherent and highly personal narrative. The result is an intense, unpredictable work filled with character, where experimentation never feels like disruption for its own sake. Instead, it becomes a natural method for constructing movement, identity, and tension. In that sense, NPC Dream functions as far more than a collection of tracks. It stands as a confident artistic statement, restless and deeply attuned to the evolving mutations of contemporary electronic music.

Label: Schrödinger’s Box
Catalogue: SBOX 022
Artist: Alina Valentina
Title: NPC Dream

Release Date: June 15, 2026
Support & Buy: Bandcamp

Side A
A1 – Air Slasher 4:12
A2 – NPC Dream 4:23
A3 – Echo Of Ecco 5:05
A4 – Mine Cart Madness 4:00
Total – 17:35

Side B
B1 – Pixel Swamp 3:29
B2 – Come Get Some 5:14
B3 – Wishing Engine 4:15
B4 – Light Warrior 4:40
Total – 17:38

Alina Valentina

SoundCloud | Bandcamp | Instagram | Facebook | YouTube | Twitter | Website | Spotify | Linktree

Schrödinger’s Box

SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Review | The Persistence of Form: AMAS & F. M. Grabner present SRDNG x LPZG

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its Baroque facade and relocated into the realms of Minimal, Dub Techno, and Ambient? On SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner propose a compelling answer. Rather than revisiting Bach as a historical figure, the German duo approaches his work as a living structural force, extracting rhythmic and harmonic architectures from fourteen compositions and projecting them into a contemporary sonic language built on repetition, texture, and spatial perception.

Developed over three years between southern Sardinia and Leipzig, the album draws its identity from the dialogue between two contrasting environments. Sardinia contributes openness, isolation, and contemplation. Leipzig provides intellectual density, musical tradition, and academic rigor. Throughout the record, these seemingly distant worlds converge into a coherent narrative where atmosphere and structure become inseparable.

The opening sequence immediately establishes this relationship. ANKUNFT unfolds like an arrival into remote coastal landscapes where human presence survives only as a distant whisper. Drones, subtle ambient layers, and Grabner’s contributions generate an expansive visual quality that feels detached from conventional notions of time. This sensation deepens with WEITE, whose immense spatial character functions almost as a rejection of contemporary acceleration. Its vastness transforms anxiety into stillness, allowing sound to occupy space with unusual patience.

As the album progresses, its conceptual dimension becomes increasingly apparent. VERIRRUNG introduces delicate sonic labyrinths that expand through shimmering repetitions and subtle harmonic shifts. The feeling of disorientation never becomes threatening. Instead, it emerges as a natural condition of exploration. This quality reaches one of its most evocative moments in NACHT, where darkness is transformed into a state of absolute beauty. Past, present, and future dissolve into a nocturnal landscape whose calmness feels strangely eternal.

The transition into RAUSCH marks a subtle yet important shift. Existing in that liminal territory between night and day, the track captures the fragile atmosphere of early dawn. Silence gradually gives way to the distant emergence of urban noise, creating a tension between introspection and awakening. This dialogue between serenity and unease becomes central to the album’s emotional trajectory.

One of the most striking achievements of SRDNG x LPZG lies in its ability to generate emotional complexity through minimal means. ABSTRAKTION pushes this quality toward its most intense expression. Extended high-frequency tones create a sensation of suspended inevitability, producing a strangely beautiful form of existential tension. The darkness it introduces finds immediate relief in STIMMEN, whose vocal elements bring warmth and humanity back into focus. Nostalgia remains present, yet its melancholic weight dissolves into comfort, tenderness, and quiet joy.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The central section of the album further demonstrates the strength of the collaboration between AMAS and Grabner. The internationally acclaimed bassist, whose career spans some of Europe’s most prestigious musical institutions, contributes an organic dimension that continuously blurs the boundaries between acoustic performance and electronic processing. On CHAOS, this interaction becomes particularly evident. Elevated and low frequencies coexist within a delicate equilibrium where classical sensibilities and contemporary electronic abstraction merge without hierarchy.

From there, the album gradually reveals its deeper narrative. WEGE feels like a reflection upon the journey itself, exposing landscapes that are both contemplative and subtly threatening. The path forward appears uncertain, yet its permanence becomes undeniable. That tension eventually reaches its resolution through LICHT, arguably one of the album’s defining moments. Here, the artistic achievement of the project becomes fully visible. Complex conceptual foundations are translated into sound with remarkable elegance, creating music that feels intuitive despite the extraordinary sophistication beneath its surface.

https://clubfuries.com.mx/2026/05/31/cfs-amas-fm-grabner-vernunft-amas006/

The final stretch reinforces the record’s cyclical logic. KLARHEIT introduces clarity through agile, luminous electronic textures whose playful qualities provide a welcome sense of renewal. DUESTERNIS returns to anxiety, constructing dense sonic mazes that echo the psychological pressures of contemporary life. Yet even here, AMAS avoids simple pessimism. The darkness functions as an essential counterpart to illumination.

This balance ultimately finds its conclusion in VERNUNFT and ABSCHIED. The former transforms reason itself into sound, presenting an atmosphere that feels simultaneously unsettling and comforting. The latter serves as a fitting farewell to a work that understands the album format as a complete artistic statement rather than a collection of isolated tracks. Its ending does not seek closure as much as it invites reflection.

Limited to 200 copies on heavyweight double vinyl and accompanied by a striking three-dimensional sleeve design, SRDNG x LPZG extends its conceptual ambitions beyond sound alone. Like AMAS’ previous works, visual identity, narrative construction, and musical composition operate as interconnected elements of a unified artistic vision.

In the end, SRDNG x LPZG succeeds because it approaches Bach neither with reverence nor nostalgia. Instead, it recognizes that the structural principles underlying his music remain fertile ground for experimentation. Through Ambient, Dub Techno, Minimalism, and the remarkable contributions of Frithjof-Martin Grabner, AMAS transforms those principles into something profoundly contemporary. An ambitious, deeply immersive, and quietly avant-garde work that rewards patient listening with uncommon depth.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Review | The Persistence of Form: AMAS & F. M. Grabner present SRDNG x LPZG

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its Baroque facade and relocated into the realms of Minimal, Dub Techno, and Ambient? On SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner propose a compelling answer. Rather than revisiting Bach as a historical figure, the German duo approaches his work as a living structural force, extracting rhythmic and harmonic architectures from fourteen compositions and projecting them into a contemporary sonic language built on repetition, texture, and spatial perception.

Developed over three years between southern Sardinia and Leipzig, the album draws its identity from the dialogue between two contrasting environments. Sardinia contributes openness, isolation, and contemplation. Leipzig provides intellectual density, musical tradition, and academic rigor. Throughout the record, these seemingly distant worlds converge into a coherent narrative where atmosphere and structure become inseparable.

The opening sequence immediately establishes this relationship. ANKUNFT unfolds like an arrival into remote coastal landscapes where human presence survives only as a distant whisper. Drones, subtle ambient layers, and Grabner’s contributions generate an expansive visual quality that feels detached from conventional notions of time. This sensation deepens with WEITE, whose immense spatial character functions almost as a rejection of contemporary acceleration. Its vastness transforms anxiety into stillness, allowing sound to occupy space with unusual patience.

As the album progresses, its conceptual dimension becomes increasingly apparent. VERIRRUNG introduces delicate sonic labyrinths that expand through shimmering repetitions and subtle harmonic shifts. The feeling of disorientation never becomes threatening. Instead, it emerges as a natural condition of exploration. This quality reaches one of its most evocative moments in NACHT, where darkness is transformed into a state of absolute beauty. Past, present, and future dissolve into a nocturnal landscape whose calmness feels strangely eternal.

The transition into RAUSCH marks a subtle yet important shift. Existing in that liminal territory between night and day, the track captures the fragile atmosphere of early dawn. Silence gradually gives way to the distant emergence of urban noise, creating a tension between introspection and awakening. This dialogue between serenity and unease becomes central to the album’s emotional trajectory.

One of the most striking achievements of SRDNG x LPZG lies in its ability to generate emotional complexity through minimal means. ABSTRAKTION pushes this quality toward its most intense expression. Extended high-frequency tones create a sensation of suspended inevitability, producing a strangely beautiful form of existential tension. The darkness it introduces finds immediate relief in STIMMEN, whose vocal elements bring warmth and humanity back into focus. Nostalgia remains present, yet its melancholic weight dissolves into comfort, tenderness, and quiet joy.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The central section of the album further demonstrates the strength of the collaboration between AMAS and Grabner. The internationally acclaimed bassist, whose career spans some of Europe’s most prestigious musical institutions, contributes an organic dimension that continuously blurs the boundaries between acoustic performance and electronic processing. On CHAOS, this interaction becomes particularly evident. Elevated and low frequencies coexist within a delicate equilibrium where classical sensibilities and contemporary electronic abstraction merge without hierarchy.

From there, the album gradually reveals its deeper narrative. WEGE feels like a reflection upon the journey itself, exposing landscapes that are both contemplative and subtly threatening. The path forward appears uncertain, yet its permanence becomes undeniable. That tension eventually reaches its resolution through LICHT, arguably one of the album’s defining moments. Here, the artistic achievement of the project becomes fully visible. Complex conceptual foundations are translated into sound with remarkable elegance, creating music that feels intuitive despite the extraordinary sophistication beneath its surface.

https://clubfuries.com.mx/2026/05/31/cfs-amas-fm-grabner-vernunft-amas006/

The final stretch reinforces the record’s cyclical logic. KLARHEIT introduces clarity through agile, luminous electronic textures whose playful qualities provide a welcome sense of renewal. DUESTERNIS returns to anxiety, constructing dense sonic mazes that echo the psychological pressures of contemporary life. Yet even here, AMAS avoids simple pessimism. The darkness functions as an essential counterpart to illumination.

This balance ultimately finds its conclusion in VERNUNFT and ABSCHIED. The former transforms reason itself into sound, presenting an atmosphere that feels simultaneously unsettling and comforting. The latter serves as a fitting farewell to a work that understands the album format as a complete artistic statement rather than a collection of isolated tracks. Its ending does not seek closure as much as it invites reflection.

Limited to 200 copies on heavyweight double vinyl and accompanied by a striking three-dimensional sleeve design, SRDNG x LPZG extends its conceptual ambitions beyond sound alone. Like AMAS’ previous works, visual identity, narrative construction, and musical composition operate as interconnected elements of a unified artistic vision.

In the end, SRDNG x LPZG succeeds because it approaches Bach neither with reverence nor nostalgia. Instead, it recognizes that the structural principles underlying his music remain fertile ground for experimentation. Through Ambient, Dub Techno, Minimalism, and the remarkable contributions of Frithjof-Martin Grabner, AMAS transforms those principles into something profoundly contemporary. An ambitious, deeply immersive, and quietly avant-garde work that rewards patient listening with uncommon depth.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Fer Torres – Partner en Viaje [SHURIKEN 手裏剣]

Born in Córdoba, Argentina, Fer Torres has developed a sonic identity rooted in the deeper territories of house music. His productions unfold through precise structures, restrained grooves, and a distinctive sensitivity for creating atmospheres that reveal themselves gradually. Depth, in his work, emerges not simply from density but from the way each sound interacts with the space and time surrounding it.

His latest release arrives via SHURIKEN 手裏剣, a Buenos Aires-based label guided by a compelling principle. The discovery of hidden rhythms. Sounds waiting to be uncovered, frequencies that reveal their full character only when placed in the right environment.

https://clubfuries.com.mx/2025/03/18/cfp-ivo-reiderman-the-source-shuriken/

Partner en Viaje brings together three original compositions — From a Distance, Xtrx Mxxd, and Partner en Viaje — alongside a remix of the title track by Gus Bonani. It is this original version that captures our attention for today’s Premiere.

From the outset, Partner en Viaje moves with remarkable restraint. The track emerges from a carefully shaded darkness, avoiding dramatic gestures in favour of subtle development. Individual sounds appear almost hesitantly, like isolated signals searching for connection before forming a shared direction. The sensation recalls walking through a landscape illuminated only by distant flickers of light. Fireflies suspended in the night. Fragile points of brightness capable of completely altering one’s perception of the surrounding space.

https://soundcloud.com/clubfuriess/sfs-fer-torres-partner-en-viaje-shkn007

As the composition unfolds, that initial darkness gradually acquires warmth. Rhythmic elements begin to interlock with quiet confidence, allowing the track to breathe while maintaining a steady internal momentum. Each layer seems designed to support the next, creating movement that never feels forced or imposed. There is something deeply tactile about the way Fer Torres handles texture. The grooves feel velvety and fluid, almost organic in their movement. Rather than occupying space aggressively, they move through it gently, reshaping the environment from within and generating a powerful sense of intimacy.

The warmth running through the track avoids obvious nostalgia. Instead, it emerges from the meeting of different temporalities. Emotional echoes from somewhere familiar coexist with a distinctly contemporary production style, precise in its details and confident in its use of space. This balance is precisely where Partner en Viaje finds its strength. Between contemplation and motion. Between intimacy and openness. Between memory and the present moment.

By the time the track reaches its fullest expression, it no longer feels like a journey toward a destination. It becomes a companion. A steady presence moving alongside the listener, synchronising thought, emotion, and rhythm into the same flowing current. Like certain journeys that continue resonating long after they have ended.

Label: SHURIKEN – 手裏剣
Artist: Fer Torres
Title: Partner en Viaje
Catalogue: SHKN007
Format: Digital
Mastering: Dani Labb
Artwork: Guido Jg
Illustration: Caro Crisis

Release Date: June 6, 2026
Support & Buy: Bandcamp

Tracklist
1. From a distance
2. Xtrx Mxxd
3. Partner en Viaje
4. Partner en Viaje (Gus Bonani Remix)

Fer Torres

SoundCloud | Instagram | Bandcamp | Linktree | Date Lab

SHURIKEN 手裏剣

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Fer Torres – Partner en Viaje [SHURIKEN 手裏剣]

Born in Córdoba, Argentina, Fer Torres has developed a sonic identity rooted in the deeper territories of house music. His productions unfold through precise structures, restrained grooves, and a distinctive sensitivity for creating atmospheres that reveal themselves gradually. Depth, in his work, emerges not simply from density but from the way each sound interacts with the space and time surrounding it.

His latest release arrives via SHURIKEN 手裏剣, a Buenos Aires-based label guided by a compelling principle. The discovery of hidden rhythms. Sounds waiting to be uncovered, frequencies that reveal their full character only when placed in the right environment.

https://clubfuries.com.mx/2025/03/18/cfp-ivo-reiderman-the-source-shuriken/

Partner en Viaje brings together three original compositions — From a Distance, Xtrx Mxxd, and Partner en Viaje — alongside a remix of the title track by Gus Bonani. It is this original version that captures our attention for today’s Premiere.

From the outset, Partner en Viaje moves with remarkable restraint. The track emerges from a carefully shaded darkness, avoiding dramatic gestures in favour of subtle development. Individual sounds appear almost hesitantly, like isolated signals searching for connection before forming a shared direction. The sensation recalls walking through a landscape illuminated only by distant flickers of light. Fireflies suspended in the night. Fragile points of brightness capable of completely altering one’s perception of the surrounding space.

https://soundcloud.com/clubfuriess/sfs-fer-torres-partner-en-viaje-shkn007

As the composition unfolds, that initial darkness gradually acquires warmth. Rhythmic elements begin to interlock with quiet confidence, allowing the track to breathe while maintaining a steady internal momentum. Each layer seems designed to support the next, creating movement that never feels forced or imposed. There is something deeply tactile about the way Fer Torres handles texture. The grooves feel velvety and fluid, almost organic in their movement. Rather than occupying space aggressively, they move through it gently, reshaping the environment from within and generating a powerful sense of intimacy.

The warmth running through the track avoids obvious nostalgia. Instead, it emerges from the meeting of different temporalities. Emotional echoes from somewhere familiar coexist with a distinctly contemporary production style, precise in its details and confident in its use of space. This balance is precisely where Partner en Viaje finds its strength. Between contemplation and motion. Between intimacy and openness. Between memory and the present moment.

By the time the track reaches its fullest expression, it no longer feels like a journey toward a destination. It becomes a companion. A steady presence moving alongside the listener, synchronising thought, emotion, and rhythm into the same flowing current. Like certain journeys that continue resonating long after they have ended.

Label: SHURIKEN – 手裏剣
Artist: Fer Torres
Title: Partner en Viaje
Catalogue: SHKN007
Format: Digital
Mastering: Dani Labb
Artwork: Guido Jg
Illustration: Caro Crisis

Release Date: June 6, 2026
Support & Buy: Bandcamp

Tracklist
1. From a distance
2. Xtrx Mxxd
3. Partner en Viaje
4. Partner en Viaje (Gus Bonani Remix)

Fer Torres

SoundCloud | Instagram | Bandcamp | Linktree | Date Lab

SHURIKEN 手裏剣

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: The Lost Boys – Against Infinity [Subsist Records]

Five years ago, Raszia, better known as The Lost Boys, released one of those rare tracks that continues to resonate long after its initial impact. A piece that not only became a lasting favourite of ours, but one that we also had the privilege of presenting as a Premiere. Since then, his artistic trajectory has remained remarkably consistent, evolving beyond familiar formulas while steadily refining a singular sonic identity.

Now he returns to Subsist Records with his second full-length album for the label, further developing a vision in which electro and breaks operate less as genres and more as evolving languages. Acid sequences, IDM-inflected textures, and melodic passages weave throughout the record, creating a space where dancefloor energy coexists with a deeply introspective sensibility.

https://clubfuries.com.mx/2021/04/28/premiere-cf-the-lost-boys-orbital-mirror-hxagrm-records/

Across the album, fragmented rhythms and electronic architectures unfold through constantly shifting forms. Moments of direct propulsion sit alongside passages that seem to pause and reflect upon themselves. That ability to balance movement and contemplation remains one of the defining qualities of The Lost Boys’ work.

Within this broader journey, Against Infinity occupies a pivotal role. Not simply because it opens the album, but because it introduces many of the ideas that continue to echo throughout the record. It functions as both a sonic and conceptual threshold, offering the first glimpse into the world Raszia constructs across the release.

https://clubfuries.com.mx/2026/05/22/cfp-pont-no-time-subsist-282d/

From its opening moments, the track establishes an atmosphere that resists simple emotional categorisation. There is nostalgia, though not tied to any particular memory. There is melancholy, though never enough to become burdensome. Above all, there is a sense of continuous expansion, as though each new layer extends the boundaries of perception a little further.

The pads unfold with an almost weightless quality, generating a spacious environment where time itself appears to slow. Beneath them, rhythmic sequences maintain a steady sense of motion, preventing the composition from drifting entirely into abstraction. Between these forces emerges a compelling tension. The desire to move forward and the impulse to remain suspended.

What makes Against Infinity especially compelling is its ability to unite elements that might otherwise feel disconnected. Electro, breaks, acid, and more abstract influences converge without competing for attention. Each retains its own identity while contributing to a larger structure that continuously redefines their relationships.

https://soundcloud.com/clubfuriess/cfs-the-lost-boys-subsist-283d

It feels like a form of unity built through difference. A meeting point where seemingly incompatible elements discover new ways of coexisting. This is not simply eclecticism. The real achievement lies in how naturally Raszia weaves these distinct languages into a coherent whole, transforming diversity into cohesion.

As the track progresses, the sense of infinity suggested by its title begins to take on a tangible presence. Not as an abstract concept, but as a perceptual experience. Time ceases to feel linear. Past, present, and future collapse into the same current of sound, creating a listening experience that extends beyond its own duration.

Perhaps this is one of the reasons we continue returning to the work of The Lost Boys. Beyond the technical precision, beyond the sound design and rhythmic mastery, there remains something increasingly rare. A capacity to transform electronic music into a space where emotion and exploration continue to meet.

Label: Subsist Records
Artist: The Lost Boys
Title: Against infinity
Catalogue: SUBSIST.283D
Artwork by Malasombra
Mastering by The Lost Boys

Release Date: June 9, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Against Infinity
2. Close contact with the Last station
3. Compulsive Subsonics
4. Dying of The Light
5. Galactography
6. Inscribed on metal
7. Satellite Five
8. Triplanetary

The Lost Boys

SoundCloud | Facebook | Raszia

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: The Lost Boys – Against Infinity [Subsist Records]

Five years ago, Raszia, better known as The Lost Boys, released one of those rare tracks that continues to resonate long after its initial impact. A piece that not only became a lasting favourite of ours, but one that we also had the privilege of presenting as a Premiere. Since then, his artistic trajectory has remained remarkably consistent, evolving beyond familiar formulas while steadily refining a singular sonic identity.

Now he returns to Subsist Records with his second full-length album for the label, further developing a vision in which electro and breaks operate less as genres and more as evolving languages. Acid sequences, IDM-inflected textures, and melodic passages weave throughout the record, creating a space where dancefloor energy coexists with a deeply introspective sensibility.

https://clubfuries.com.mx/2021/04/28/premiere-cf-the-lost-boys-orbital-mirror-hxagrm-records/

Across the album, fragmented rhythms and electronic architectures unfold through constantly shifting forms. Moments of direct propulsion sit alongside passages that seem to pause and reflect upon themselves. That ability to balance movement and contemplation remains one of the defining qualities of The Lost Boys’ work.

Within this broader journey, Against Infinity occupies a pivotal role. Not simply because it opens the album, but because it introduces many of the ideas that continue to echo throughout the record. It functions as both a sonic and conceptual threshold, offering the first glimpse into the world Raszia constructs across the release.

https://clubfuries.com.mx/2026/05/22/cfp-pont-no-time-subsist-282d/

From its opening moments, the track establishes an atmosphere that resists simple emotional categorisation. There is nostalgia, though not tied to any particular memory. There is melancholy, though never enough to become burdensome. Above all, there is a sense of continuous expansion, as though each new layer extends the boundaries of perception a little further.

The pads unfold with an almost weightless quality, generating a spacious environment where time itself appears to slow. Beneath them, rhythmic sequences maintain a steady sense of motion, preventing the composition from drifting entirely into abstraction. Between these forces emerges a compelling tension. The desire to move forward and the impulse to remain suspended.

What makes Against Infinity especially compelling is its ability to unite elements that might otherwise feel disconnected. Electro, breaks, acid, and more abstract influences converge without competing for attention. Each retains its own identity while contributing to a larger structure that continuously redefines their relationships.

https://soundcloud.com/clubfuriess/cfs-the-lost-boys-subsist-283d

It feels like a form of unity built through difference. A meeting point where seemingly incompatible elements discover new ways of coexisting. This is not simply eclecticism. The real achievement lies in how naturally Raszia weaves these distinct languages into a coherent whole, transforming diversity into cohesion.

As the track progresses, the sense of infinity suggested by its title begins to take on a tangible presence. Not as an abstract concept, but as a perceptual experience. Time ceases to feel linear. Past, present, and future collapse into the same current of sound, creating a listening experience that extends beyond its own duration.

Perhaps this is one of the reasons we continue returning to the work of The Lost Boys. Beyond the technical precision, beyond the sound design and rhythmic mastery, there remains something increasingly rare. A capacity to transform electronic music into a space where emotion and exploration continue to meet.

Label: Subsist Records
Artist: The Lost Boys
Title: Against infinity
Catalogue: SUBSIST.283D
Artwork by Malasombra
Mastering by The Lost Boys

Release Date: June 9, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Against Infinity
2. Close contact with the Last station
3. Compulsive Subsonics
4. Dying of The Light
5. Galactography
6. Inscribed on metal
7. Satellite Five
8. Triplanetary

The Lost Boys

SoundCloud | Facebook | Raszia

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – VERNUNFT [AMAS Studio]

What happens when Johann Sebastian Bach’s mathematical architecture is removed from its historical setting and projected into the language of contemporary electronic music? What remains when the structures survive, yet the materials themselves are transformed?

With SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner venture into precisely that territory. This is not a reinterpretation of Bach, nor an attempt to modernise his work for contemporary audiences. The project operates on a deeper level. It extracts the internal logic of his compositions—their proportions, movements, and rhythmic relationships—and rebuilds them through the frameworks of minimalism, dub techno, and ambient music.

Developed over three years between two radically different environments, the album inhabits a unique temporal space. Sardinia contributes its rugged isolation and expansive landscapes. Leipzig brings centuries of musical tradition and intellectual precision. The resulting work feels suspended between eras, compressing multiple histories into a single sonic continuum.

The process began in Pula, at the southern edge of Sardinia. There, AMAS digitally isolated and deconstructed rhythmic and tonal fragments from fourteen selected Bach compositions. Rather than functioning as quotations or references, these fragments were dismantled and reorganised until they became entirely new entities. Field recordings captured across the surrounding landscape were woven into the electronic framework, allowing environmental textures to merge with hypnotic pulses, microscopic repetitions, and slowly evolving structures.

Back in Leipzig, the project gained a new dimension through the involvement of Frithjof-Martin Grabner. The double bass does not sit on top of the electronic foundation. Instead, it reshapes it from within. Wood, resonance, and physical vibration introduce a different sense of time altogether, bringing a corporeal memory into dialogue with the precision of digital processes.

Following our first premiere from the album, CHAOS, it was already clear that this project operated according to its own internal logic. With VERNUNFT, that vision becomes even more fully articulated.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The title translates as «reason,» yet within the German philosophical tradition the concept carries far greater complexity. It evokes systems of understanding, frameworks of order, and the intellectual foundations of modernity itself. Listening to VERNUNFT, those historical echoes become impossible to ignore. Not because the track seeks to illustrate philosophical ideas, but because its structure continuously raises questions about what happens when rational forms migrate across different technologies and historical moments.

What makes the piece so compelling is its complete refusal of nostalgia. Bach is not treated as a monument preserved behind glass. His legacy appears here as living material, capable of mutation and reinvention. The modernity he once embodied is activated once again, this time through contemporary sonic languages.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

At certain moments, the listening experience recalls the vision of Luigi Russolo, who imagined a future in which music would absorb the sounds of industrial transformation. More than a century later, that tension remains unresolved. Machines no longer arrive from outside. They exist within the very fabric of musical production, shaping perception, memory, and our experience of time itself.

VERNUNFT occupies that meeting point. A place where centuries-old compositional discipline and contemporary technology engage in genuine dialogue, neither one dominating the other. The result belongs entirely to neither classical music nor electronic music. Instead, it inhabits a fertile territory between categories, where forms continue to evolve and definitions begin to dissolve.

And this is only the beginning of the journey.

https://bandcamp.com/EmbeddedPlayer/album=613141444/size=large/bgcol=ffffff/linkcol=333333/tracklist=false/artwork=small/transparent=true

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – VERNUNFT [AMAS Studio]

What happens when Johann Sebastian Bach’s mathematical architecture is removed from its historical setting and projected into the language of contemporary electronic music? What remains when the structures survive, yet the materials themselves are transformed?

With SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner venture into precisely that territory. This is not a reinterpretation of Bach, nor an attempt to modernise his work for contemporary audiences. The project operates on a deeper level. It extracts the internal logic of his compositions—their proportions, movements, and rhythmic relationships—and rebuilds them through the frameworks of minimalism, dub techno, and ambient music.

Developed over three years between two radically different environments, the album inhabits a unique temporal space. Sardinia contributes its rugged isolation and expansive landscapes. Leipzig brings centuries of musical tradition and intellectual precision. The resulting work feels suspended between eras, compressing multiple histories into a single sonic continuum.

The process began in Pula, at the southern edge of Sardinia. There, AMAS digitally isolated and deconstructed rhythmic and tonal fragments from fourteen selected Bach compositions. Rather than functioning as quotations or references, these fragments were dismantled and reorganised until they became entirely new entities. Field recordings captured across the surrounding landscape were woven into the electronic framework, allowing environmental textures to merge with hypnotic pulses, microscopic repetitions, and slowly evolving structures.

Back in Leipzig, the project gained a new dimension through the involvement of Frithjof-Martin Grabner. The double bass does not sit on top of the electronic foundation. Instead, it reshapes it from within. Wood, resonance, and physical vibration introduce a different sense of time altogether, bringing a corporeal memory into dialogue with the precision of digital processes.

Following our first premiere from the album, CHAOS, it was already clear that this project operated according to its own internal logic. With VERNUNFT, that vision becomes even more fully articulated.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The title translates as «reason,» yet within the German philosophical tradition the concept carries far greater complexity. It evokes systems of understanding, frameworks of order, and the intellectual foundations of modernity itself. Listening to VERNUNFT, those historical echoes become impossible to ignore. Not because the track seeks to illustrate philosophical ideas, but because its structure continuously raises questions about what happens when rational forms migrate across different technologies and historical moments.

What makes the piece so compelling is its complete refusal of nostalgia. Bach is not treated as a monument preserved behind glass. His legacy appears here as living material, capable of mutation and reinvention. The modernity he once embodied is activated once again, this time through contemporary sonic languages.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

At certain moments, the listening experience recalls the vision of Luigi Russolo, who imagined a future in which music would absorb the sounds of industrial transformation. More than a century later, that tension remains unresolved. Machines no longer arrive from outside. They exist within the very fabric of musical production, shaping perception, memory, and our experience of time itself.

VERNUNFT occupies that meeting point. A place where centuries-old compositional discipline and contemporary technology engage in genuine dialogue, neither one dominating the other. The result belongs entirely to neither classical music nor electronic music. Instead, it inhabits a fertile territory between categories, where forms continue to evolve and definitions begin to dissolve.

And this is only the beginning of the journey.

https://bandcamp.com/EmbeddedPlayer/album=613141444/size=large/bgcol=ffffff/linkcol=333333/tracklist=false/artwork=small/transparent=true

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – CHAOS [AMAS Studio]

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical façade and exposed to digital decay, dub echoes, and the hypnotic repetition of contemporary minimalism? With SRDNG x LPZG, the duo AMAS, alongside double bassist Frithjof-Martin Grabner, answers that question not through academic reverence, but through radical transformation. The result is neither adaptation nor tribute: it is a sonic mutation where baroque structures slowly dissolve before re-emerging as something entirely different.

The project was shaped between two radically contrasting geographies. On one side, the rough and almost mineral isolation of Sardinia; on the other, the historical precision of Leipzig. Over the course of three years, AMAS digitally dissected rhythmic and tonal fragments from fourteen selected Bach compositions, merging them with field recordings and electronic frameworks moving through dub-techno, ambient, and experimental minimalism. Classical music stops functioning here as an untouchable monument and begins breathing instead as organic matter, eroded by machinery, memory, and landscape.

Once the project returns to Leipzig and incorporates the work of Frithjof-Martin Grabner, the album reaches an even stranger depth. The double bass does not function as ornament or nostalgic gesture; it acts like a physical shadow stretching across the entire release, constantly tightening the dialogue between tradition and electronic abstraction. The result is a sonic architecture where the human and the machinic no longer oppose each other, but gradually merge within the same perceptual current.

To put it plainly: this is a genuine work of contemporary electronic avant-garde. Not because it seeks empty sophistication, but because it accomplishes something far more difficult — creating a new language without erasing the traces of what gave birth to it. Bach never disappears; he elegantly disintegrates into dub, ambient, and minimal textures, as though entire centuries of musical history had become suspended inside a single frequency.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

Within that journey, “CHAOS” stands at the conceptual and emotional center of the album. The track operates as a structural backbone, unfolding a sonic progression that truly embodies what its title suggests. Yet chaos here is not explosive destruction; it is the constant reorganization of layers, tensions, and temporalities. Latent fragments drift through ethereal and deeply nostalgic coordinates while the front of the track advances with a dub serenity that seems to contain collapse without ever fully allowing it to happen.

Confusion becomes texture; disorder transforms into rhythmic respiration. Delicate electronic layers slowly slide over one another, generating a suspended sensation of drift where each sound feels as though it arrives from multiple timelines simultaneously. Minimal and deep elements stop functioning as genres and instead become states of perception. And somewhere inside that sonic fog, Bach continues to appear — no longer as a historical figure, but as a digital specter floating between echoes, emptiness, and repetition.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – CHAOS [AMAS Studio]

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical façade and exposed to digital decay, dub echoes, and the hypnotic repetition of contemporary minimalism? With SRDNG x LPZG, the duo AMAS, alongside double bassist Frithjof-Martin Grabner, answers that question not through academic reverence, but through radical transformation. The result is neither adaptation nor tribute: it is a sonic mutation where baroque structures slowly dissolve before re-emerging as something entirely different.

The project was shaped between two radically contrasting geographies. On one side, the rough and almost mineral isolation of Sardinia; on the other, the historical precision of Leipzig. Over the course of three years, AMAS digitally dissected rhythmic and tonal fragments from fourteen selected Bach compositions, merging them with field recordings and electronic frameworks moving through dub-techno, ambient, and experimental minimalism. Classical music stops functioning here as an untouchable monument and begins breathing instead as organic matter, eroded by machinery, memory, and landscape.

Once the project returns to Leipzig and incorporates the work of Frithjof-Martin Grabner, the album reaches an even stranger depth. The double bass does not function as ornament or nostalgic gesture; it acts like a physical shadow stretching across the entire release, constantly tightening the dialogue between tradition and electronic abstraction. The result is a sonic architecture where the human and the machinic no longer oppose each other, but gradually merge within the same perceptual current.

To put it plainly: this is a genuine work of contemporary electronic avant-garde. Not because it seeks empty sophistication, but because it accomplishes something far more difficult — creating a new language without erasing the traces of what gave birth to it. Bach never disappears; he elegantly disintegrates into dub, ambient, and minimal textures, as though entire centuries of musical history had become suspended inside a single frequency.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

Within that journey, “CHAOS” stands at the conceptual and emotional center of the album. The track operates as a structural backbone, unfolding a sonic progression that truly embodies what its title suggests. Yet chaos here is not explosive destruction; it is the constant reorganization of layers, tensions, and temporalities. Latent fragments drift through ethereal and deeply nostalgic coordinates while the front of the track advances with a dub serenity that seems to contain collapse without ever fully allowing it to happen.

Confusion becomes texture; disorder transforms into rhythmic respiration. Delicate electronic layers slowly slide over one another, generating a suspended sensation of drift where each sound feels as though it arrives from multiple timelines simultaneously. Minimal and deep elements stop functioning as genres and instead become states of perception. And somewhere inside that sonic fog, Bach continues to appear — no longer as a historical figure, but as a digital specter floating between echoes, emptiness, and repetition.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Teseracto – Obra Negra [電光 Denkō Recordings]

Within the Latin American circuit of hypnotic and deep techno, Teseracto has steadily built a presence grounded in tension, precision, and a deeply physical understanding of sound. The Colombian DJ and producer from Popayán has been developing the project since 2018, moving through local dancefloors alongside figures such as Ricardo Garduno, Jonas Kopp, Marika Rossa, Camea, Shlomi Aber, and several key artists from Colombia’s contemporary electronic scene. Beyond the names themselves, what truly matters is how that trajectory has shaped a sonic identity focused on structural depth, rhythmic pressure, and atmospheric control.

https://clubfuries.com.mx/2025/12/22/cfp-nordbass-orden-y-caos-dnk008/

Now arriving on 電光 Denkō Recordings with “Obra Negra,” a four-track EP, Teseracto presents a release where techno operates like architecture in constant construction. Atmospheric layers intertwine with solid, sharply defined kick drums, generating dense structures that evolve without ever losing clarity or direction. There is a continuous sensation of controlled immersion, as if every sonic element had been carefully designed to act simultaneously on both body and perception. This goes beyond merely being about intensity. It is about turning intensity itself into hypnosis.

.

https://soundcloud.com/clubfuriess/cfs-teseracto-obra-negra-dnk012

The title track emerges immediately as a machine of sustained pressure. Thick, heavily electrified sonic rotors carry enormous amounts of density and effervescence without ever compromising the internal balance of the track. Everything moves with the sensation of contained power, like a reactor operating at maximum capacity under absolute control. The low-end strikes with force while the upper layers spread metallic vibrations that gradually occupy every corner of the mix.

What makes the track particularly compelling is its refusal to collapse into excess despite its sheer force. Energy accumulates progressively, yet always modulated through precise transitions and surgical sound design that knows exactly when to push forward and when to pull back. The texture itself becomes a form of living tension — compact, immersive, and capable of transforming the dancefloor into a suspended physical and mental space. With “Obra Negra,” Teseracto is not trying to saturate the room; he is trying to command it.

Label: 電光 Denkō Recordings
Artist: Teseracto
Title: Obra Negra EP
Catalogue: DNK012

Release Date: May 25, 2025
Support & Buy: Bandcamp

Tracklist
1. Obra Negra 05:49
2. Andromeda
3. Entre LAdrillos
4. Haz de Luz

Teseracto

SoundCloud | Instagram | Beatport

Denkō Recordings

SoundCloud | Instagram | Bandcamp 

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Teseracto – Obra Negra [電光 Denkō Recordings]

Within the Latin American circuit of hypnotic and deep techno, Teseracto has steadily built a presence grounded in tension, precision, and a deeply physical understanding of sound. The Colombian DJ and producer from Popayán has been developing the project since 2018, moving through local dancefloors alongside figures such as Ricardo Garduno, Jonas Kopp, Marika Rossa, Camea, Shlomi Aber, and several key artists from Colombia’s contemporary electronic scene. Beyond the names themselves, what truly matters is how that trajectory has shaped a sonic identity focused on structural depth, rhythmic pressure, and atmospheric control.

https://clubfuries.com.mx/2025/12/22/cfp-nordbass-orden-y-caos-dnk008/

Now arriving on 電光 Denkō Recordings with “Obra Negra,” a four-track EP, Teseracto presents a release where techno operates like architecture in constant construction. Atmospheric layers intertwine with solid, sharply defined kick drums, generating dense structures that evolve without ever losing clarity or direction. There is a continuous sensation of controlled immersion, as if every sonic element had been carefully designed to act simultaneously on both body and perception. This goes beyond merely being about intensity. It is about turning intensity itself into hypnosis.

.

https://soundcloud.com/clubfuriess/cfs-teseracto-obra-negra-dnk012

The title track emerges immediately as a machine of sustained pressure. Thick, heavily electrified sonic rotors carry enormous amounts of density and effervescence without ever compromising the internal balance of the track. Everything moves with the sensation of contained power, like a reactor operating at maximum capacity under absolute control. The low-end strikes with force while the upper layers spread metallic vibrations that gradually occupy every corner of the mix.

What makes the track particularly compelling is its refusal to collapse into excess despite its sheer force. Energy accumulates progressively, yet always modulated through precise transitions and surgical sound design that knows exactly when to push forward and when to pull back. The texture itself becomes a form of living tension — compact, immersive, and capable of transforming the dancefloor into a suspended physical and mental space. With “Obra Negra,” Teseracto is not trying to saturate the room; he is trying to command it.

Label: 電光 Denkō Recordings
Artist: Teseracto
Title: Obra Negra EP
Catalogue: DNK012

Release Date: May 25, 2025
Support & Buy: Bandcamp

Tracklist
1. Obra Negra 05:49
2. Andromeda
3. Entre LAdrillos
4. Haz de Luz

Teseracto

SoundCloud | Instagram | Beatport

Denkō Recordings

SoundCloud | Instagram | Bandcamp 

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Mxm Fernandez – Fiesta Retro Future [Cucurbitacea]

Cucurbitacea, the Chilean imprint founded by Edward Yatiri in Matanzas, continues shaping an identity where techno operates as both physical ritual and connection to a deeply Latin American sensibility. Its name, derived from the botanical family of pumpkins and squash, extends far beyond aesthetic symbolism: it informs the label’s entire philosophy through ideas of roots, underground growth, and organic expansion. From that perspective, Cucurbitacea has developed a curatorial line focused on hypnotic percussion, dark atmospheres, and evolving structures that treat the dancefloor as a collective space of perceptual transformation.

The label’s latest release comes from Chilean producer and DJ Mxm Fernandez, founder of Gooze Lab, member of Loco Blue, and contributor to labels such as Melcure, Drumma Records, Binary Sound, and Non Stop. His trajectory within the Chilean electronic circuit has been defined by a balance between technical exploration and club-oriented instinct, developing a language where experimentation never loses contact with movement or bodily response.

https://clubfuries.com.mx/2024/02/15/club-furies-mix-series-cintas-furiosas-present-mxmliano/

With Style Over Scores, a three-track EP, Mxm Fernandez fully embraces that tension between structure and deviation. The release unfolds through rough analog textures and experimental impulses that continuously bend the groove without ever completely breaking it apart. Rhythmic forms seem slightly displaced from their center, generating a controlled instability that keeps the listener suspended inside the flow. There is a distinctly nocturnal quality throughout the EP: an understanding of the club as a space where time softens and repetition begins reshaping sonic matter itself.

“Fiesta Retro Future” captures that conceptual and physical direction with remarkable precision. The track moves through a compact and persistent current where multiple layers coexist within the same rhythmic architecture, creating a texture that feels simultaneously fragmented and unified. Refreshing electricity, heavy metallic pulses hanging in the air, and low-end movements crawling beneath the concrete shape a continuous motion that never collapses under its own weight.

https://soundcloud.com/clubfuriess/cfs-mxm-fernandez-fiesta-retro-future-cucubitacea

As the track progresses, tension emerges gradually rather than explosively. The sound does not chase immediate impact; instead, it embeds itself slowly into perception through pressure, repetition, and subtle transformation. Elements appear and dissolve with surgical timing, like mechanical fragments reorganizing inside an unstable system. One of the track’s strongest qualities lies precisely there: transforming structural complexity into immediate physical sensation. Sustained groove, controlled density, and an energy that remains permanently open, unfolding across the dancefloor in discreet spirals.

Artist: Mxm Fernandez
Title: Style Over Scores
Label: Cucurbitacea
Catalogue: EP 002
Format: Digital

Release Date: May 21, 2026
Support & Buy: Bandcamp

Tracklist
1. Fiesta Retro Future
2. Skateboarding Es Vida
3. Filosofía de Vida

Mxm Fernandez

SoundCloud | Instagram | Facebook | Bandcamp

Cucurbitacea

Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Mxm Fernandez – Fiesta Retro Future [Cucurbitacea]

Cucurbitacea, the Chilean imprint founded by Edward Yatiri in Matanzas, continues shaping an identity where techno operates as both physical ritual and connection to a deeply Latin American sensibility. Its name, derived from the botanical family of pumpkins and squash, extends far beyond aesthetic symbolism: it informs the label’s entire philosophy through ideas of roots, underground growth, and organic expansion. From that perspective, Cucurbitacea has developed a curatorial line focused on hypnotic percussion, dark atmospheres, and evolving structures that treat the dancefloor as a collective space of perceptual transformation.

The label’s latest release comes from Chilean producer and DJ Mxm Fernandez, founder of Gooze Lab, member of Loco Blue, and contributor to labels such as Melcure, Drumma Records, Binary Sound, and Non Stop. His trajectory within the Chilean electronic circuit has been defined by a balance between technical exploration and club-oriented instinct, developing a language where experimentation never loses contact with movement or bodily response.

https://clubfuries.com.mx/2024/02/15/club-furies-mix-series-cintas-furiosas-present-mxmliano/

With Style Over Scores, a three-track EP, Mxm Fernandez fully embraces that tension between structure and deviation. The release unfolds through rough analog textures and experimental impulses that continuously bend the groove without ever completely breaking it apart. Rhythmic forms seem slightly displaced from their center, generating a controlled instability that keeps the listener suspended inside the flow. There is a distinctly nocturnal quality throughout the EP: an understanding of the club as a space where time softens and repetition begins reshaping sonic matter itself.

“Fiesta Retro Future” captures that conceptual and physical direction with remarkable precision. The track moves through a compact and persistent current where multiple layers coexist within the same rhythmic architecture, creating a texture that feels simultaneously fragmented and unified. Refreshing electricity, heavy metallic pulses hanging in the air, and low-end movements crawling beneath the concrete shape a continuous motion that never collapses under its own weight.

https://soundcloud.com/clubfuriess/cfs-mxm-fernandez-fiesta-retro-future-cucubitacea

As the track progresses, tension emerges gradually rather than explosively. The sound does not chase immediate impact; instead, it embeds itself slowly into perception through pressure, repetition, and subtle transformation. Elements appear and dissolve with surgical timing, like mechanical fragments reorganizing inside an unstable system. One of the track’s strongest qualities lies precisely there: transforming structural complexity into immediate physical sensation. Sustained groove, controlled density, and an energy that remains permanently open, unfolding across the dancefloor in discreet spirals.

Artist: Mxm Fernandez
Title: Style Over Scores
Label: Cucurbitacea
Catalogue: EP 002
Format: Digital

Release Date: May 21, 2026
Support & Buy: Bandcamp

Tracklist
1. Fiesta Retro Future
2. Skateboarding Es Vida
3. Filosofía de Vida

Mxm Fernandez

SoundCloud | Instagram | Facebook | Bandcamp

Cucurbitacea

Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | apaull: «Do you have the gunfactor?» On Furnace Room Recordings

Some albums arrive with a concept so precisely articulated that the music barely needs defending. Gunfactor, apaull’s new record on Furnace Room Recordings, is one of them. Ten tracks navigating the pathways to fame — and infamy — across a sonic palette that moves from techno to synthwave by way of industrial, always with an economy of means that signals someone who knows exactly what they’re doing. The title lettering is by Al Diaz, a past collaborator of Jean-Michel Basquiat. The photographs are by Dave Clarke. We spoke with apaull about the album, its contradictions, and the questions it leaves unanswered.

Club Furies: The title operates simultaneously in two languages with meanings that don’t contradict each other but pull in different directions. Was that tension intentional from the start, or did the linguistic ambiguity emerge during the process and you decided to let it do its work?

apaull: The tension was intentional. The Dutch meaning came first, though. I was having coffee with a Dutch booking agent and she said you need produce good music but also have the “gunfactor”, this intangible ’it factor’ to become successful (and famous). The immediate question is how does one achieve that “it factor”. The theme developed from there. Either you have exceptional talent which leads to fame or you are somehow notorious, which leads to infamy.

https://soundcloud.com/apaull_music/sets/gunfactor-8-tracks

Club Furies: The album draws an implicit distinction between earned fame and inflicted fame. Tracks like «Veilig» or «King Dome» seem to inhabit that grey zone where recognition arrives through circumstances no one would have chosen. How do you construct that difference narratively without collapsing into moral judgment?

apaull: Great question. While I have strong personal views I try to present things agnostically. I create perspectives in my tracks, that sometimes belie my personal views, but are really there to ask the listener what they think. It’s like listening to a painting. What do you hear and what do you think about it?

Club Furies: «Finishing School» summons something from another era that, by your own notes, «might still hold true today.» What strikes you as more unsettling: that those ideas persist, or that we still have to keep saying so?

apaull: “Finishing School” is a tongue in cheek examination of societal structure. In previous eras, roles were more clearly defined than they are today, if not over the top rigid. Today we find ourselves in jello, where structure has been systematically removed. We now live in an open concept society, if not over the top lax. “Finishing School’s” light hearted question is do we need some of that structure back.

Club Furies: The album has very specific geographies: Berlin in January, Detroit, New York implicit in «Veilig.» Do those physical contexts affect the compositional process technically — in the sound, the tempo, the processing — or do they function more as states of mind?

apaull: Both. I absorb where I am and this influences my state of mind and how I write. I write music almost continually and love writing in hotel rooms. For instance, the album track “Fang Mich” (Catch Me) was written and produced in Berlin. It captures the vibes I soaked in from the winter weather, Tresor & Berghain techno forays, a cold and jet lag. I live two hours from Detroit, the birthplace of techno, and go there for Movement each year. Detroit techno is pretty straight ahead but with indelible flashes of house. It is warmer than Berlin techno. The track “Veilig” (Safe) was written about something that happened in New York. I have been there many times and carry the vibe of this ‘infinite city’ with me.

Club Furies: «Cartel» proposes a kind of inverse moral relativism. It’s arguably the album’s most conceptually exposed position. What was the writing process like for that track: did you start from the concept or arrive at it through the music?

apaull: I came accross the vocal sample first and used it as the track’s foundation. I wrote the music around this sample (normally I do it the other way around). I found it interesting that a politician would compare a global body (World Economic Forum) to Columbian drug cartels, the point being that the espoused global organizations are cartels, in there own right. The pandemic made clear that this is the case.

https://open.spotify.com/intl-es/album/2zoMok0136WpNuiulxOrXq

Club Furies: «True Though» suggests that sufficient fame functions as a shield. What’s interesting is that the track doesn’t sound like furious critique — it sounds more like resignation. Is that emotional ambiguity deliberate, or is it what came out?

apaull: My song writing is about providing a perspective, without the proselytizing that fury might evoke. I create these track perspectives to be there subliminally, that is you will only hear them if you listen deeply and far away from the club. “True Though” is about how Canada’s now former prime minister could not remember how many times he had donned ‘black face’, was somehow not cancelled and was still able to ascend this high office. While I’m a firm believer in redemption, I doubt that other politicians would have received this benefit of the doubt.

Club Furies: You close the album with «Altamont Joy,» which ends on «You’re gonna look real crazy, being on the other side of that line.» That line can be read as a warning, a statement of fact, or an irony. Did you want it to be all three at once?

apaull: The sample, in question, was delivered, by the speaker, as an omimous warning. It presents two perspectives, the speaker’s and the other, across some imaginary dotted line into a philosophical ‘no mans land’. The point of the track is that we cannot function with this level of polarization because the ability to discuss and reach consensus is lost.

https://soundcloud.com/apaull_music/gunfactor-demo

Club Furies: Bringing in Al Diaz for the title lettering places the record in a visual conversation with eighties street art and everything that history implies. How did you come to him, and what did you want that choice to communicate?

apaull: I met him through my friend and artist, Jason Maclean, on one of my trips to New York, and was mesmerized by his history and works. I was quite taken by his lettering (assembled from New York Metropolitan Transit Authority posters). For the purposes of creating visual artistic continuity between my releases I thought this lettering would work well.

Club Furies: Every track on the album has a remix. That’s a structural decision, not an accessory one. What interests you about the dialogue between your version and another artist’s reinterpretation? Are there tracks where that tension feels particularly generative?

apaull: I made a decision, early on, to release on my own label because I was new, wanted full control of my music and didn’t think the slog of attracting label interest was a good use of my time. Working with remixers was a good alternative to labels. I work with remixers for two reasons: 1. To have them create more danceable and club friendly versions of a track; and 2. To introduce my music to their audiences. The bonus is that I have been able to work with artists who I respect and admire, and learn from them.

https://clubfuries.com.mx/2026/02/22/cfp-apaull-king-dome-pyrame-frr034/

Club Furies: Your music operates in a space where peak time and after-hours aren’t opposites but continuities. That implies a certain resistance to the kind of specialization the market tends to reward. How do you think about that position in relation to how electronic music circulates today?

apaull: I see my music as art. While notionally it fits into the techno genre, I spend no time trying to get it to fit what is being played in clubs. While I enjoy club music, I see what is produced as being derivitive more than specialization. Clubgoers enjoy this musical continuity and for producers it can be a pathway to success. There is nothing wrong with that. I work diligently to create a sound, that is grounded but unique, and then work even harder to find the right audience. My work with club friendly remixers, as described above, is an invitation to their audience to become part of mine. Over time, what I produce will continue to work its way into clubs and other venues.

Club Furies: Furnace Room Recordings is now thirty-six releases in. What does running your own label mean for a project like yours? Does the autonomy change what you’re willing to sign off on?

apaull: The label means I get to release what I want and build a solid catalog that I control. It is a platform that now allows me to present my music to potential labels, remixers and venues and work to attract their interest. My goal is to write and professionally produce interesting tracks. I only sign off on and release  tracks after my team has given their stamp of approval.

Club Furies: If the album asks «do you have the gunfactor?» — what’s your answer?

apaull: Ultimately, that is for others to decide, but, to save them some time I would say, YES.

https://youtu.be/xuALldIl4Uw

Gunfactor is not a comfortable record, and it doesn’t try to be. It is a work that observes, with clinical detachment, the mechanisms by which the world rewards, ignores, or destroys people — and has the honesty not to offer solutions. In a circuit that often consumes itself in its own effervescence, apaull builds something slower and more durable: a body of work with edges, with conceptual texture, with the kind of coherence that can only come from someone who has been at this long enough not to need to impress anyone.

The question that titles the album stays open. Perhaps that is the only honest answer there is.

Gunfactor is released April 24, 2026 on Furnace Room Recordings (frr036), distributed by Superstition and available on all platforms. Remixes accompany the album as single and EP releases.

As a complement to the Gunfactor release, the inclusion of the Dina Summer Remix, set to be released on May 22, adds a significant layer of contemporary energy to the project. This remix not only reinterprets apaull’s sonic vision but also serves as a strategic bridge for listeners to further explore the creative process detailed in this interview.

artist: apaull
Album: Gunfactor
Release Format: Digital
Cat. No. frr036
Distribution: Superstition, all online platforms

Release Date: April 24, 2026
Pre Order FurnaceRoomRecords.lnk.to/Gunfactor

apaull- writing, producing, mixing
Abe Duque- Executive Producer, mastering

Tracklist
1. Fang Mich 04:07
2. King Dome 05:20
3. Push the Button 06:10
4. Veilig 04:38
5. Finishing School 05:05
6. Gunfactor 05:34
7. Cartel 07:11
8. True Though 05:04
9. Payload 05:32
10. Altamont Joy 07:30

apaull

Website | SoundCloud | Instagram | Facebook | Bandcamp | Linktree

Furnace Room Records

Instagram | Facebook | Beatport

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | apaull: «Do you have the gunfactor?» On Furnace Room Recordings

Some albums arrive with a concept so precisely articulated that the music barely needs defending. Gunfactor, apaull’s new record on Furnace Room Recordings, is one of them. Ten tracks navigating the pathways to fame — and infamy — across a sonic palette that moves from techno to synthwave by way of industrial, always with an economy of means that signals someone who knows exactly what they’re doing. The title lettering is by Al Diaz, a past collaborator of Jean-Michel Basquiat. The photographs are by Dave Clarke. We spoke with apaull about the album, its contradictions, and the questions it leaves unanswered.

Club Furies: The title operates simultaneously in two languages with meanings that don’t contradict each other but pull in different directions. Was that tension intentional from the start, or did the linguistic ambiguity emerge during the process and you decided to let it do its work?

apaull: The tension was intentional. The Dutch meaning came first, though. I was having coffee with a Dutch booking agent and she said you need produce good music but also have the “gunfactor”, this intangible ’it factor’ to become successful (and famous). The immediate question is how does one achieve that “it factor”. The theme developed from there. Either you have exceptional talent which leads to fame or you are somehow notorious, which leads to infamy.

https://soundcloud.com/apaull_music/sets/gunfactor-8-tracks

Club Furies: The album draws an implicit distinction between earned fame and inflicted fame. Tracks like «Veilig» or «King Dome» seem to inhabit that grey zone where recognition arrives through circumstances no one would have chosen. How do you construct that difference narratively without collapsing into moral judgment?

apaull: Great question. While I have strong personal views I try to present things agnostically. I create perspectives in my tracks, that sometimes belie my personal views, but are really there to ask the listener what they think. It’s like listening to a painting. What do you hear and what do you think about it?

Club Furies: «Finishing School» summons something from another era that, by your own notes, «might still hold true today.» What strikes you as more unsettling: that those ideas persist, or that we still have to keep saying so?

apaull: “Finishing School” is a tongue in cheek examination of societal structure. In previous eras, roles were more clearly defined than they are today, if not over the top rigid. Today we find ourselves in jello, where structure has been systematically removed. We now live in an open concept society, if not over the top lax. “Finishing School’s” light hearted question is do we need some of that structure back.

Club Furies: The album has very specific geographies: Berlin in January, Detroit, New York implicit in «Veilig.» Do those physical contexts affect the compositional process technically — in the sound, the tempo, the processing — or do they function more as states of mind?

apaull: Both. I absorb where I am and this influences my state of mind and how I write. I write music almost continually and love writing in hotel rooms. For instance, the album track “Fang Mich” (Catch Me) was written and produced in Berlin. It captures the vibes I soaked in from the winter weather, Tresor & Berghain techno forays, a cold and jet lag. I live two hours from Detroit, the birthplace of techno, and go there for Movement each year. Detroit techno is pretty straight ahead but with indelible flashes of house. It is warmer than Berlin techno. The track “Veilig” (Safe) was written about something that happened in New York. I have been there many times and carry the vibe of this ‘infinite city’ with me.

Club Furies: «Cartel» proposes a kind of inverse moral relativism. It’s arguably the album’s most conceptually exposed position. What was the writing process like for that track: did you start from the concept or arrive at it through the music?

apaull: I came accross the vocal sample first and used it as the track’s foundation. I wrote the music around this sample (normally I do it the other way around). I found it interesting that a politician would compare a global body (World Economic Forum) to Columbian drug cartels, the point being that the espoused global organizations are cartels, in there own right. The pandemic made clear that this is the case.

https://open.spotify.com/intl-es/album/2zoMok0136WpNuiulxOrXq

Club Furies: «True Though» suggests that sufficient fame functions as a shield. What’s interesting is that the track doesn’t sound like furious critique — it sounds more like resignation. Is that emotional ambiguity deliberate, or is it what came out?

apaull: My song writing is about providing a perspective, without the proselytizing that fury might evoke. I create these track perspectives to be there subliminally, that is you will only hear them if you listen deeply and far away from the club. “True Though” is about how Canada’s now former prime minister could not remember how many times he had donned ‘black face’, was somehow not cancelled and was still able to ascend this high office. While I’m a firm believer in redemption, I doubt that other politicians would have received this benefit of the doubt.

Club Furies: You close the album with «Altamont Joy,» which ends on «You’re gonna look real crazy, being on the other side of that line.» That line can be read as a warning, a statement of fact, or an irony. Did you want it to be all three at once?

apaull: The sample, in question, was delivered, by the speaker, as an omimous warning. It presents two perspectives, the speaker’s and the other, across some imaginary dotted line into a philosophical ‘no mans land’. The point of the track is that we cannot function with this level of polarization because the ability to discuss and reach consensus is lost.

https://soundcloud.com/apaull_music/gunfactor-demo

Club Furies: Bringing in Al Diaz for the title lettering places the record in a visual conversation with eighties street art and everything that history implies. How did you come to him, and what did you want that choice to communicate?

apaull: I met him through my friend and artist, Jason Maclean, on one of my trips to New York, and was mesmerized by his history and works. I was quite taken by his lettering (assembled from New York Metropolitan Transit Authority posters). For the purposes of creating visual artistic continuity between my releases I thought this lettering would work well.

Club Furies: Every track on the album has a remix. That’s a structural decision, not an accessory one. What interests you about the dialogue between your version and another artist’s reinterpretation? Are there tracks where that tension feels particularly generative?

apaull: I made a decision, early on, to release on my own label because I was new, wanted full control of my music and didn’t think the slog of attracting label interest was a good use of my time. Working with remixers was a good alternative to labels. I work with remixers for two reasons: 1. To have them create more danceable and club friendly versions of a track; and 2. To introduce my music to their audiences. The bonus is that I have been able to work with artists who I respect and admire, and learn from them.

https://clubfuries.com.mx/2026/02/22/cfp-apaull-king-dome-pyrame-frr034/

Club Furies: Your music operates in a space where peak time and after-hours aren’t opposites but continuities. That implies a certain resistance to the kind of specialization the market tends to reward. How do you think about that position in relation to how electronic music circulates today?

apaull: I see my music as art. While notionally it fits into the techno genre, I spend no time trying to get it to fit what is being played in clubs. While I enjoy club music, I see what is produced as being derivitive more than specialization. Clubgoers enjoy this musical continuity and for producers it can be a pathway to success. There is nothing wrong with that. I work diligently to create a sound, that is grounded but unique, and then work even harder to find the right audience. My work with club friendly remixers, as described above, is an invitation to their audience to become part of mine. Over time, what I produce will continue to work its way into clubs and other venues.

Club Furies: Furnace Room Recordings is now thirty-six releases in. What does running your own label mean for a project like yours? Does the autonomy change what you’re willing to sign off on?

apaull: The label means I get to release what I want and build a solid catalog that I control. It is a platform that now allows me to present my music to potential labels, remixers and venues and work to attract their interest. My goal is to write and professionally produce interesting tracks. I only sign off on and release  tracks after my team has given their stamp of approval.

Club Furies: If the album asks «do you have the gunfactor?» — what’s your answer?

apaull: Ultimately, that is for others to decide, but, to save them some time I would say, YES.

https://youtu.be/xuALldIl4Uw

Gunfactor is not a comfortable record, and it doesn’t try to be. It is a work that observes, with clinical detachment, the mechanisms by which the world rewards, ignores, or destroys people — and has the honesty not to offer solutions. In a circuit that often consumes itself in its own effervescence, apaull builds something slower and more durable: a body of work with edges, with conceptual texture, with the kind of coherence that can only come from someone who has been at this long enough not to need to impress anyone.

The question that titles the album stays open. Perhaps that is the only honest answer there is.

Gunfactor is released April 24, 2026 on Furnace Room Recordings (frr036), distributed by Superstition and available on all platforms. Remixes accompany the album as single and EP releases.

As a complement to the Gunfactor release, the inclusion of the Dina Summer Remix, set to be released on May 22, adds a significant layer of contemporary energy to the project. This remix not only reinterprets apaull’s sonic vision but also serves as a strategic bridge for listeners to further explore the creative process detailed in this interview.

artist: apaull
Album: Gunfactor
Release Format: Digital
Cat. No. frr036
Distribution: Superstition, all online platforms

Release Date: April 24, 2026
Pre Order FurnaceRoomRecords.lnk.to/Gunfactor

apaull- writing, producing, mixing
Abe Duque- Executive Producer, mastering

Tracklist
1. Fang Mich 04:07
2. King Dome 05:20
3. Push the Button 06:10
4. Veilig 04:38
5. Finishing School 05:05
6. Gunfactor 05:34
7. Cartel 07:11
8. True Though 05:04
9. Payload 05:32
10. Altamont Joy 07:30

apaull

Website | SoundCloud | Instagram | Facebook | Bandcamp | Linktree

Furnace Room Records

Instagram | Facebook | Beatport

Club Furies

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CF Premiere: Carara, Valentin Zad – Natural Resources [trau-ma]

Some collaborations add. Others multiply. This is the second kind. When two artists with such distinct individual talent decide to work together, the result could go in any direction —and here it goes in exactly the right one. We’re talking about Carara and Valentin Zad, two Germany-based artists whose union for this release doesn’t sound like an experiment or an opportunity: it sounds like something that had to happen.

The label hosting them says everything about the level of the bet. Trau-ma is one of those imprints that exists in the circuit for the right reasons —not for volume of releases but for consistency of judgment and quality of catalog. That Carara and Valentin Zad choose this space to present their collaboration is, in itself, a statement of intent. Two top-tier talents on one of the best labels in the circuit: the equation is as simple as it is powerful.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

The result is titled Delusión —a three-track original collection: Delusion, Hidden Pains, and Natural Resources. Few tracks, no filler, all the density concentrated in exactly the right space. This is the kind of EP that doesn’t need length to justify itself —it justifies itself track by track, layer by layer.

https://soundcloud.com/clubfuriess/cfp-carara-valentin-zad-natural-resources-trm388

«Natural Resources» carries a sobriety in its name that the sound confirms from the very first second. Its sounds are constant, precise, and piercing —they don’t run loose, don’t frenzy easily, don’t reach for easy impact. But that contained edge strikes with a certain violence mediated by impeccable sound design that knows exactly how much pressure to apply and when to release.

The track stabilizes at very high notes of intensity, and from there its climax doesn’t explode —it becomes an ethereal valley, interrupted in time and space as if someone had paused the universe for an instant. What follows is the synthesis of multiple determinations converging into a final texture, built on a parallel running through the entire sonic structure and its layers that, somehow, seem to have frozen in time, advancing in an alternate manner —neither forward nor backward, but in a direction only this track knows.

Artist:
Carara, Valentin Zad
Label: trauma
Title: Delusion
Format: Digital

Catalogue:
TRM388

Release Date: May 8th, 2026
Support & Buy: Bandcamp

Tracklist:


1. Delusion
2. Hidden Pains
3. Natural Resources

Carara

SoundCloud | Instagram | Facebook | Beatport

Valentin Zad

SoundCloud | Instagram

trau-ma

SoundCloud | Instagram | YouTube | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: DJ SUNSHINE – Sloppy Day In UK [OMERTA]

From Russia, OMERTA continues shaping a catalog where emotion moves as a subtle yet persistent current. Its motto—“My sorrow is light!”—finds a precise translation in DJ Sunshine. UK N/A, a five-track release, unfolds as an exercise in temperature: a light that settles into dense surfaces and moves through them from within.

The record operates within compact digital textures, where warmth begins to circulate rather than break through. A memory of classic house pulses beneath the surface, embedded in the present as active motion. The sound carries a familiarity that emerges through the body before it registers as reference.

https://clubfuries.com.mx/2026/02/23/cfp-ronin-the-pain-inside-outro-omerta/

Its structure rests on wide, grounded basslines that anchor the dancefloor. Around them, analog layers introduce a soft grain, almost tactile, while vocals surface as orientation points within the flow. Everything advances with clarity, allowing each element to settle into place and build a continuous expansion.

Movement develops without abrupt gestures. The groove opens and sustains itself, creating a steady circulation of energy. The dancefloor responds through prolonged attention, where warmth accumulates and redistributes with each transition. DJ Sunshine shapes this space with precision, adjusting density while preserving lightness.

https://soundcloud.com/clubfuriess/cfp-dj-sunshine-sloppy-say-in-uk-omerta

Within this framework, “Sloppy Day in UK” reveals a particularly refined quality. The track glides with a softness that seems to hover over its own rhythm, while maintaining an internal electric charge that gradually activates the body. Its progression remains steady, grounded yet fluid.

Vocals appear as intermittent flashes, fragments of memory cutting through the surface. They introduce an expanded sense of time, where past and present vibrate together. The texture remains clean and luminous, giving each layer room to breathe.

The result is a piece that integrates seamlessly into the release, reinforcing its identity through nuance. UK N/A finds its persistence in these details—a warmth that lingers, a light that continues to move long after the track fades.

Label: OMERTA
Artist: DJ SUNSHINE
Title: UK N/A
Catalogue:

Release Date: April 28, 2026
Support & Buy: Bandcamp

Tracklist
1. DJ SUNSHINE – Sloppy Day In UK
2. DJ SUNSHINE – The Feelin
3. DJ SUNSHINE – To Motion
4. DJ SUNSHINE – Be Radiant
5. DJ SUNSHINE – Free

Credits
OMERTA RECORDS
Founder: Gal
Co-founder: Ruksby
Artwork by www.instagram.com/mosin.tattooer
Mastered by Snarexx

DJ SUNSHINE

SoundCloud | Instagram

OMERTA RECORDS

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: DJ SUNSHINE – Sloppy Day In UK [OMERTA]

From Russia, OMERTA continues shaping a catalog where emotion moves as a subtle yet persistent current. Its motto—“My sorrow is light!”—finds a precise translation in DJ Sunshine. UK N/A, a five-track release, unfolds as an exercise in temperature: a light that settles into dense surfaces and moves through them from within.

The record operates within compact digital textures, where warmth begins to circulate rather than break through. A memory of classic house pulses beneath the surface, embedded in the present as active motion. The sound carries a familiarity that emerges through the body before it registers as reference.

https://clubfuries.com.mx/2026/02/23/cfp-ronin-the-pain-inside-outro-omerta/

Its structure rests on wide, grounded basslines that anchor the dancefloor. Around them, analog layers introduce a soft grain, almost tactile, while vocals surface as orientation points within the flow. Everything advances with clarity, allowing each element to settle into place and build a continuous expansion.

Movement develops without abrupt gestures. The groove opens and sustains itself, creating a steady circulation of energy. The dancefloor responds through prolonged attention, where warmth accumulates and redistributes with each transition. DJ Sunshine shapes this space with precision, adjusting density while preserving lightness.

https://soundcloud.com/clubfuriess/cfp-dj-sunshine-sloppy-say-in-uk-omerta

Within this framework, “Sloppy Day in UK” reveals a particularly refined quality. The track glides with a softness that seems to hover over its own rhythm, while maintaining an internal electric charge that gradually activates the body. Its progression remains steady, grounded yet fluid.

Vocals appear as intermittent flashes, fragments of memory cutting through the surface. They introduce an expanded sense of time, where past and present vibrate together. The texture remains clean and luminous, giving each layer room to breathe.

The result is a piece that integrates seamlessly into the release, reinforcing its identity through nuance. UK N/A finds its persistence in these details—a warmth that lingers, a light that continues to move long after the track fades.

Label: OMERTA
Artist: DJ SUNSHINE
Title: UK N/A
Catalogue:

Release Date: April 28, 2026
Support & Buy: Bandcamp

Tracklist
1. DJ SUNSHINE – Sloppy Day In UK
2. DJ SUNSHINE – The Feelin
3. DJ SUNSHINE – To Motion
4. DJ SUNSHINE – Be Radiant
5. DJ SUNSHINE – Free

Credits
OMERTA RECORDS
Founder: Gal
Co-founder: Ruksby
Artwork by www.instagram.com/mosin.tattooer
Mastered by Snarexx

DJ SUNSHINE

SoundCloud | Instagram

OMERTA RECORDS

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: n-trip – Amplify [Armen Crew]

ntrip² doesn’t start from a fixed place: it builds itself in the in-between space. It doesn’t seek to define itself but to displace —and that, precisely, is its clearest statement of intent. From there, n-trip arrives at Armen Crew with a four-track EP that moves along the edges: electro, techno, and breakbeat in constant tension, without settling into any one of them. This is not indecision —it’s a deliberate stance against the comfort of categories.

https://clubfuries.com.mx/2021/08/02/premiere-club-furies-john-deere-420-tribute-to-konoha-la-grande-gudule-x-garage-83-c-x-armen-crew/

Composed on Gadigal land, the release works from a clear idea: movement within ambiguity. Rhythms mutate, textures collide, and tension accumulates at that precise point where structure ceases to be rigid and flow takes control. There is no linearity here, only transitions —and that difference is not a small one. Each track operates as an open system in permanent adjustment, responding to its own unfolding rather than to any preset form. The result is music you can’t fully anticipate, and which for that very reason keeps attention alive from beginning to end.

https://clubfuries.com.mx/2024/04/01/club-furies-premiere-ert-introspection-armen-crew/

The expansion arrives with remixes from Ritmu, Interimm, and Capon, which don’t reinterpret but reconfigure. From a minimalist and cognitive precision to passages that are more melodic and emotionally charged, each version shifts the axis without breaking the continuity of the whole. These aren’t alternative readings of the same material: they are sonic states in transformation, where boundaries dissolve and energy remains in constant motion. An EP that grows beyond itself.

https://soundcloud.com/clubfuriess/cfp-n-trip-amplify-arm009

«Amplify» functions as exactly what its name announces —an amplifier. But it does so from a completely unexpected place: not through volume or raw intensity, but through a patient, sober, and masterfully handled sound design that amplifies from within, almost in silence. Throughout the entire track, electro and techno blur subtly into a connivance so natural it never feels forced —they coexist as if they had always spoken the same language. And when the synthesis arrives, it does so amid cybernetic decouplings in the sonic circuits that don’t close the track but open it toward another dimension —one the ear takes a second to recognize, but the body grasps immediately.

Label: Armen Crew
Artist: n-trip
Title: ntrip² EP
Catalogue: ARM009
Remixes: Ritmu, Interimm, Capon
Genre: Techno, Electronic Breakbeat
Digital Only

Release Date: April 30th, 2026
Support & Buy: Bandcamp

Tracklist
1. Limit
2. Amplify
3. de-esc2b
4. Ionosphere
5. Ionosphere (Ritmu remix)
6. Limit (Interimm Forest remix)
7. Ionosphere (Capon remix)

Credits
Mastering: Simon Hamelin @ HDN Mastering
Ritmu remix > Mastered @ Booker Audio
Artwork & Design : n-trip & Formanoire}

n-trip

Instagram | Linktree

Armen Crew

SoundCloud | Instagram | Facebook | Bandcamp
Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: n-trip – Amplify [Armen Crew]

ntrip² doesn’t start from a fixed place: it builds itself in the in-between space. It doesn’t seek to define itself but to displace —and that, precisely, is its clearest statement of intent. From there, n-trip arrives at Armen Crew with a four-track EP that moves along the edges: electro, techno, and breakbeat in constant tension, without settling into any one of them. This is not indecision —it’s a deliberate stance against the comfort of categories.

https://clubfuries.com.mx/2021/08/02/premiere-club-furies-john-deere-420-tribute-to-konoha-la-grande-gudule-x-garage-83-c-x-armen-crew/

Composed on Gadigal land, the release works from a clear idea: movement within ambiguity. Rhythms mutate, textures collide, and tension accumulates at that precise point where structure ceases to be rigid and flow takes control. There is no linearity here, only transitions —and that difference is not a small one. Each track operates as an open system in permanent adjustment, responding to its own unfolding rather than to any preset form. The result is music you can’t fully anticipate, and which for that very reason keeps attention alive from beginning to end.

https://clubfuries.com.mx/2024/04/01/club-furies-premiere-ert-introspection-armen-crew/

The expansion arrives with remixes from Ritmu, Interimm, and Capon, which don’t reinterpret but reconfigure. From a minimalist and cognitive precision to passages that are more melodic and emotionally charged, each version shifts the axis without breaking the continuity of the whole. These aren’t alternative readings of the same material: they are sonic states in transformation, where boundaries dissolve and energy remains in constant motion. An EP that grows beyond itself.

https://soundcloud.com/clubfuriess/cfp-n-trip-amplify-arm009

«Amplify» functions as exactly what its name announces —an amplifier. But it does so from a completely unexpected place: not through volume or raw intensity, but through a patient, sober, and masterfully handled sound design that amplifies from within, almost in silence. Throughout the entire track, electro and techno blur subtly into a connivance so natural it never feels forced —they coexist as if they had always spoken the same language. And when the synthesis arrives, it does so amid cybernetic decouplings in the sonic circuits that don’t close the track but open it toward another dimension —one the ear takes a second to recognize, but the body grasps immediately.

Label: Armen Crew
Artist: n-trip
Title: ntrip² EP
Catalogue: ARM009
Remixes: Ritmu, Interimm, Capon
Genre: Techno, Electronic Breakbeat
Digital Only

Release Date: April 30th, 2026
Support & Buy: Bandcamp

Tracklist
1. Limit
2. Amplify
3. de-esc2b
4. Ionosphere
5. Ionosphere (Ritmu remix)
6. Limit (Interimm Forest remix)
7. Ionosphere (Capon remix)

Credits
Mastering: Simon Hamelin @ HDN Mastering
Ritmu remix > Mastered @ Booker Audio
Artwork & Design : n-trip & Formanoire}

n-trip

Instagram | Linktree

Armen Crew

SoundCloud | Instagram | Facebook | Bandcamp
Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: THISISTHX – IC 4351 [Illegal Alien Records]

THISISTHX does not arrive as a newcomer—he returns with intent and a sharper sense of direction. His second appearance on Illegal Alien Records is not a repetition but a statement of progression, reinforcing a trajectory that has been both consistent and deliberate. From Portugal, his project has taken shape through a clear vision: forward-driven, precise techno with no detours or compromises. The evolution is evident—a defined artistic identity and sustained momentum that places him within a new generation that doesn’t wait for space, but actively builds it.

https://clubfuries.com.mx/2025/09/02/cfp-thisisthx-unknown-balances-cfs10/

His sound operates within a clearly defined field: raw, tense, and stripped of ornamentation. Percussive rhythms push forward with force, supported by a mental layer that maintains constant pressure and an energy that refuses to dissipate. There are no unnecessary peaks here—only control, measured intensity, and a sharp understanding of techno’s essential dynamics. Each track reflects this balance, delivering both physical impact and conceptual clarity.

https://clubfuries.com.mx/2026/04/14/cfp-dj-dextro-sintetico-iarltdt021/

With Point of No Return, a four-track EP, THISISTHX further solidifies this language. These are tracks built for high-impact environments, yet grounded in structural coherence and discipline. Rather than a final destination, the EP acts as a threshold—a decisive step forward that projects his evolution while reinforcing his place within contemporary techno. On Illegal Alien Records, the relationship doesn’t repeat—it deepens. The result is a collection of brutal, hypnotic cuts moving in parallel through unknown territories, somewhere between ancestral deserts and unexplored sonic landscapes.

https://soundcloud.com/clubfuriess/cfp-thisisthx-ic-4351-iar396

IC 4351 unfolds as a smooth yet deeply hypnotic piece. Subtle layers accumulate with effortless fluidity as the rhythm progresses toward what feels like purple-tinted, almost utopian terrains. The climax arrives quickly, yet in a gradual, velvety manner. Beyond that point, the sound dissolves into ethereal atmospheres and suspended time, where body and mind remain motionless, absorbed. This state extends ad infinitum, ultimately taking full control over both psyche and physical response.

Label: Illegal Alien Records
Artist: THISISTHX
Title: Point of No Return
Genre: Techno
Format: Digital WAV/MP3
Catalogue: IAR396
Mastering by The Programnaitor
Artwork Design by Rommulo

Release Date: April 24th, 2026
Support & Buy: Bandcamp

Tracklist
1. Hydra
2. IC 4351
3. Point Of No Return
4. Regor

THISISTHX

SoundCloud | Instagram | Bandcamp | Linktree

Illegal Alien Records

SoundCloud | Website | Bandcamp | Instagram | Facebook | YouTube | Beatport

Club Furies

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CF Premiere: DJ Dextro – Sintético [Illegal Alien Records]

Some returns don’t need an announcement—but this one matters. DJ Dextro comes back to Illegal Alien Records with a limited 12” vinyl that not only opens the year, but also marks the beginning of the label’s 19th year. This is no minor gesture: it’s the continuation of a line built on consistency, precision, and global reach, sustained over time without losing focus.

https://clubfuries.com.mx/2024/05/28/club-furies-premiere-dj-dextro-pushing-illegal-alien-records/

With a trajectory that cuts across some of techno’s most solid axes—CLR, Be As One, Mutual Rytm, Planet Rhythm—Dextro has shaped a language of his own where groove leads, intensity hits direct, and identity is non-negotiable. His sound doesn’t wander: it moves forward, applies pressure, and holds its ground. It works on the floor because it is conceived from within it, designed to function without compromise.

https://clubfuries.com.mx/2024/01/28/club-furies-premiere-ricardo-garduno-horn-chaser-illegal-alien-records

The return to Illegal Alien is no coincidence. It takes form in ‘Tantooine’, a four-track EP built under a shared logic: tight rhythms, raw synth lines, and a driving, persistent energy. There is no excess, no distraction—just structure in motion, fully aligned with the vision the label has sustained since the beginning. Each cut reinforces a controlled intensity that unfolds with clarity and purpose.

https://soundcloud.com/clubfuriess/cfp-dj-dextro-sintetico-iarltdt021

There is no nostalgia here—only active continuity. Dextro delivers a concise, functional, and timeless body of work, reaffirming his direction while strengthening a bond that doesn’t fade with time. Straightforward techno, no detours.

“Sintético” operates like a sharpened techno hammer—polished, precise, yet unexpectedly velvety in its execution. Constant, continuous, and progressive, it modulates its sonic layers with care, building toward sonic deltas that never fully resolve. That tension is part of its strength: a delirium held back, always announced but never fully released. Silences stretch and exhaust, guiding the track toward a form of perfect synthesis—a precise texture, raw yet agile, deeply hypnotic in its motion.

Label: Illegal Alien Records / Illegal Alien LTD
Artist: DJ Dextro
Title: Tantooine
Genre: Techno
Format: Vinyl 12′ / Digital WAV/AIFF/MP3
Catalogue: IARLTDT021
Mastering: The Programnator
Artwork Designed: Rommulo

Release Date: April 17th, 2026
Support & Buy: Bandcamp

DJ Dextro ‘Tantooine’ | IARLTDT021

A1. DJ Dextro – Tantooine (Original Mix)
A2. DJ Dextro – Sintético (Original Mix)
B1. DJ Dextro – THX (Original Mix)
B2. DJ Dextro – Transwarp (Original Mix)

Written & Produced by DJ Dextro
Artwork design by Rommulo
Mastering by The Programnator
Vinyl Distribution by Triple Vision
Limited Copies

Illegal Alien Records 2026 | Published by Copyright Control

www.illegalalienrecs.com

DJ Dextro

SoundCloud | Instagram | Bandcamp | Facebook | Beatport | Linktree

Illegal Alien Records

SoundCloud | Website | Bandcamp | Instagram | Facebook | YouTube | Beatport

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Merv – F33D [Cumulonimbus]

The German label Cumulonimbus presents a series of fundraising campaigns with a purpose as clear as it is urgent: to help people in Sudan and Gaza living under conditions of extreme precarity. The premise is simple and powerful in equal measure —using music to make a real difference, leveraging the platform that electronic culture provides to support those who genuinely need it. This is not a symbolic gesture: it is a concrete, sustained, and transparent action.

https://clubfuries.com.mx/2025/01/02/cfp-qlp-apparition-cumulonimbus/

The label extends its deepest gratitude to all the artists who have contributed and made this initiative possible, as well as to everyone who may still join the cause. Regular updates will be shared on the amounts raised and where every contribution goes, with full transparency as a core principle. The commitment is absolute: 100% of proceeds will be donated.

https://soundcloud.com/clubfuriess/cfp-merv-f33d-cumulonimbus

At Club Furies, we are genuinely moved to be part of this project. We believe electronic music carries a responsibility that extends beyond the dance floor, and when a label like Cumulonimbus decides to use its catalog and its community for something like this, all we want to do is amplify that signal as far as possible. We will be sharing two premieres through our channel —because if there’s anything we can do from here, it’s making sure this reaches as many ears as possible, and that the maximum amount is raised for Palestine and Sudan.

The first of those premieres comes from Copenhagen, Denmark, from the artist Merv, presenting F33D. There is no description to add here, no technical analysis or narrative to construct. Just sound —and behind that sound, all the solidarity and support we have to give.

Support the Fundraiser

Title: c:fundraiser sudan/gaza vol. 1
Artist: Various Artists
Label: Cumulonimbus
Catalogue: CMLNMBS24
Format: Digital
Genre: Electronic
Style: Techno
Mastering: Younes Jamil
Artwork: DJ DEKADENT, Mara Vorberg

Release date: April 15th, 2026
Support & Buy: Bandcamp

Tracklist
1. Merv – F33D
2. Carl Raban – Eria
3. Svedstorm – Sonnenallee 05:24
4. Tara Namir, Younes Jamil – In my bed
5. Bekkler – Chaos Drifter
6. Symbolism – Onir
7. Indigo Plateaux – Gumo
8. QLP – Now
9. Lenny San – Aktor
10. Nexus J – Missing You
11. James Smyth – Sunday Nights
12. Eramo – Bipolar System
13. Antonio Fevola – Unity Protocol
14. Alex Asci – Zeros and Ones
15. dom.koski – arrangement 2
16. Ikram Shinwari – Cheating Death
17. Kidz On Acid – Horizon

Merv

SoundCloud

Cumulonimbus

SoundCloud | Instagram | Bandcamp | Linktree

Club Furies

Website | SoundCloud | Instagram | Facebook | Bandcamp | Threads | Substack | Linktree

𝑓ourest (a.k.a. Saana Schnabel & Ville MJ Hyvönen) - TRAUM (a001/FIN, ltd. ed. 12" vinyl/C-cassette/digital, 5 March 2026).

https://a001.bandcamp.com/album/ourest-traum

Review @ Club Furies (Mexico):

https://clubfuries.com.mx/2026/03/02/cfp-fourest-volition-a001/

#𝑓ourest #techno #house #acidtechno #acidhouse #acid #ambient #IDM #electronic #fourest #SaanaSchnabel #VilleMJHyvönen #VilleMJHyvonen #a001 #Helsinki #Finland #reviews #recordreviews #ClubFuries #Mexico #cassettes #vinylrecords #vinyl

CF Premiere: Fog Catcher – Twin II [Anodynic Frequencies]

Anodynic Frequencies is a podcast devoted to music expressed through subconscious journeys. Its curatorial approach invites listeners to surrender to the flow, allowing the stories told by its guests to unfold naturally. Genre-fluid by design, the platform navigates between deep techno, rhythmic drumming, and the hypnotic atmospheres of intelligent downtempo and ambient, crafting soundscapes rooted in introspection and sensory drift.

For its latest release, the platform presents Portuguese producer Fog Catcher, who introduces himself through a poetic statement:
“Where shadows dance and rhythms resonate, an enigmatic force emerges—a wanderer of sonic realms seeking to uncover the hidden depths of forgotten rhythms and shadowed soundscapes. Driven by the pulse of dark, deep, and mysterious rhythms, each set is crafted as a ritual, an invocation of the primordial code. As the fog lifts and the rhythms intensify, a guardian arises—a mystical navigator charting a course through ever-evolving sonic landscapes”.

https://soundcloud.com/clubfuriess/cfp-fog-catcher-twin-ii-afd002

This release marks the second editorial step for Anodynic Frequencies, now also operating as a record label. Fog Catcher presents his EP Twins, featuring two original tracks alongside remixes by the winners of the remix contest held late last year. Each remix honors the original material while approaching it from a distinct stylistic perspective, expanding the sonic universe without compromising its core identity.

The original mix Twins II opens with hesitant pulsations that quickly take shape through sharp edges and vortices within the sonic structure. Emotions evolve swiftly from restrained calm to anticipation and contained excitement. As the sonic rails align, the rhythm subtly accelerates, generating sonic deltas that collide and dissolve into a state of serene calm, bordering on silence. From this point, a precise final synthesis emerges, articulating the whole as a unity born from difference.

Artist: Fog Catcher
Title: Twins EP
Label: Anodynic Frequencies
Catalogue: AFD002
Mastered by: Tomas Gonzalez / Medellín, Colombia
Artwork by: Chris Rome

Release Date: February 20th, 2026
Support & Buy: Bandcamp

Tracklist
1. Fog Catcher – Twin I
2. Fog Catcher – Twin I (Barnemax Remix)
3. Fog Catcher – Twin I (John Darque Remix)
4. Fog Catcher – Twin I (Planctophob Remix)
5. Fog Catcher – Twin II
6. Fog Catcher – Twin II (INVERNO Remix)

Fog Catcher

SoundCloud | Instagram | Linktree

Anodynic Frequencies

SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Omicron – Memory Hole

From Perth, Australia, we introduce Omicron, who returns with a new single titled Memory Hole, a release that stands out both for its sonic proposal and for its highly suggestive visual artwork, filled with trippy and introspective elements. The project inhabits a space where memory, perception, and time intersect, with its imagery already hinting at an emotional and mental exploration that directly dialogues with the track itself.

https://soundcloud.com/clubfuriess/cfp-omicron-memory

Sonically, this piece stands as one of our favorites within the Electro spectrum. Power, electricity, and attitude are combined with remarkable precision, embedding halos of nostalgia that do not remain trapped in the past, but instead unfold into temporal projections toward possible futures, built upon previously lived pessimisms. The track develops with clear talent, featuring layered sound design executed with great skill, resulting in a perfectly assembled structure from start to finish.

All of this leads to a sonic synthesis that seamlessly blends every element into a cohesive whole, allowing the track to settle and expand across space and time. Memory Hole is not merely heard—it inhabits the environment, seeps into the atmosphere, and lingers, like a persistent echo that refuses to fade, becoming eternal both in sound and in the sensory experience it creates.

Artist: Omicron
Title: Memory Hole
Label: Self-released

Release Date: January 30th, 2026
Support & Buy: Bandcamp

Omicron

SoundCloud | Instagram | Bandcamp | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Omicron – Memory Hole

From Perth, Australia, we introduce Omicron, who returns with a new single titled Memory Hole, a release that stands out both for its sonic proposal and for its highly suggestive visual artwork, filled with trippy and introspective elements. The project inhabits a space where memory, perception, and time intersect, with its imagery already hinting at an emotional and mental exploration that directly dialogues with the track itself.

https://soundcloud.com/clubfuriess/cfp-omicron-memory

Sonically, this piece stands as one of our favorites within the Electro spectrum. Power, electricity, and attitude are combined with remarkable precision, embedding halos of nostalgia that do not remain trapped in the past, but instead unfold into temporal projections toward possible futures, built upon previously lived pessimisms. The track develops with clear talent, featuring layered sound design executed with great skill, resulting in a perfectly assembled structure from start to finish.

All of this leads to a sonic synthesis that seamlessly blends every element into a cohesive whole, allowing the track to settle and expand across space and time. Memory Hole is not merely heard—it inhabits the environment, seeps into the atmosphere, and lingers, like a persistent echo that refuses to fade, becoming eternal both in sound and in the sensory experience it creates.

Artist: Omicron
Title: Memory Hole
Label: Self-released

Release Date: January 30th, 2026
Support & Buy: Bandcamp

Omicron

SoundCloud | Instagram | Bandcamp | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Res Non Verba – Cuba 2922 [Teorema by Diffuse Reality Records]

Galgo is a producer and composer from Buenos Aires, Argentina, who works across multiple aliases and genres. Res Non Verba is his project most directly oriented toward the dancefloor and techno. For his latest release, he appears on one of our favorite labels, Teorema, the sister imprint of Diffuse Reality Records—an ideal space for a proposal centered on the body, pulse, and meaningful repetition.

https://clubfuries.com.mx/2025/02/10/cfr-2025-3-deepneue-alkebulan-kino-teo194/

RNV 1 brings together six tracks produced throughout 2025, recorded, composed, and mixed almost entirely with hardware in his studio. The release pushes further into a more instrumental and direct approach than his previous work, moving fluidly between groove, industrial techno, and a strong use of the 808. The result is a physical, no-frills sound, designed to operate through extended layers of intensity.

https://clubfuries.com.mx/2024/08/19/cfp-res-non-verba-epilepsia-phy133/

The core search within RNV points toward trance, deep listening, and the hypnotic state intrinsic to electronic music. This idea also dialogues with jazz—not through form, but through experience: extended time, repetition, improvisation, and the possibility of getting lost in the moment. Subtle nods to artists such as Elvin Jones or Ahmad Jamal emerge, not as explicit quotations, but as rhythmic decisions, melodic gestures, and moments of improvisation or hidden samples.

https://soundcloud.com/clubfuriess/cfp-res-non-verba-cuba-2922-teo241

CUBA 2922 unfolds as a staged journey, with distorted 303 lines and 808 rhythms that mutate until reaching an unexpected beat switch. Surprise and shifts in direction are central to the project: the idea is to catch the listener off guard and to understand music as a space for play and exploration. The track closes with the iconic vocal from Moby’s Feeling So Real, reinforcing the logic of allowing the music to move freely, uninterrupted, within this field of imagination and sonic drift.

This is how the artist himself defines the track. And when a creator can articulate their sonic work in such terms, all that remains is to contemplate it—both through words and through sound. A true feast for the senses, meant to be experienced again and again.

Label: Teorema by Diffuse Reality Records
Artist:
Res Non Verba
Title: RNV1
Format: Digital

Catalogue:
TE0241

Release Date: February 10th, 2026
Support & Buy: Bandcamp

Tracklist
1. CUBA 2922
2. THIS ONE IS CALLED EXTENSIONS
3. PASO 2
4. FAT32
5. IN YOUR WAY
6. RITMO LIBRE

Res Non Verba

SoundCloud | Instagram | Bandcamp | Linktree

Teorema

SoundCloud | Facebook | Instagram | Bandcamp | X | Diffuse Reality Records | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

#303 #808 #Argentina #Barcelona #BuenosAires #CFPremiere #clubFuries #ClubFuriesPremiere #DiffuseRealityRecords #Electronic #Electronica #Groove #industrialTechno #Jazz #Premiere #ResNonVerba #RNV1 #Spain #TE0241 #techno #Teorema #Trance

CF Premiere: Res Non Verba – Cuba 2922 [Teorema by Diffuse Reality Records]

Galgo is a producer and composer from Buenos Aires, Argentina, who works across multiple aliases and genres. Res Non Verba is his project most directly oriented toward the dancefloor and techno. For his latest release, he appears on one of our favorite labels, Teorema, the sister imprint of Diffuse Reality Records—an ideal space for a proposal centered on the body, pulse, and meaningful repetition.

https://clubfuries.com.mx/2025/02/10/cfr-2025-3-deepneue-alkebulan-kino-teo194/

RNV 1 brings together six tracks produced throughout 2025, recorded, composed, and mixed almost entirely with hardware in his studio. The release pushes further into a more instrumental and direct approach than his previous work, moving fluidly between groove, industrial techno, and a strong use of the 808. The result is a physical, no-frills sound, designed to operate through extended layers of intensity.

https://clubfuries.com.mx/2024/08/19/cfp-res-non-verba-epilepsia-phy133/

The core search within RNV points toward trance, deep listening, and the hypnotic state intrinsic to electronic music. This idea also dialogues with jazz—not through form, but through experience: extended time, repetition, improvisation, and the possibility of getting lost in the moment. Subtle nods to artists such as Elvin Jones or Ahmad Jamal emerge, not as explicit quotations, but as rhythmic decisions, melodic gestures, and moments of improvisation or hidden samples.

https://soundcloud.com/clubfuriess/cfp-res-non-verba-cuba-2922-teo241

CUBA 2922 unfolds as a staged journey, with distorted 303 lines and 808 rhythms that mutate until reaching an unexpected beat switch. Surprise and shifts in direction are central to the project: the idea is to catch the listener off guard and to understand music as a space for play and exploration. The track closes with the iconic vocal from Moby’s Feeling So Real, reinforcing the logic of allowing the music to move freely, uninterrupted, within this field of imagination and sonic drift.

This is how the artist himself defines the track. And when a creator can articulate their sonic work in such terms, all that remains is to contemplate it—both through words and through sound. A true feast for the senses, meant to be experienced again and again.

Label: Teorema by Diffuse Reality Records
Artist:
Res Non Verba
Title: RNV1
Format: Digital

Catalogue:
TE0241

Release Date: February 10th, 2026
Support & Buy: Bandcamp

Tracklist
1. CUBA 2922
2. THIS ONE IS CALLED EXTENSIONS
3. PASO 2
4. FAT32
5. IN YOUR WAY
6. RITMO LIBRE

Res Non Verba

SoundCloud | Instagram | Bandcamp | Linktree

Teorema

SoundCloud | Facebook | Instagram | Bandcamp | X | Diffuse Reality Records | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

#303 #808 #Argentina #Barcelona #BuenosAires #CFPremiere #clubFuries #ClubFuriesPremiere #DiffuseRealityRecords #Electronic #Electronica #Groove #industrialTechno #Jazz #Premiere #ResNonVerba #RNV1 #Spain #TE0241 #techno #Teorema #Trance

CF Premiere: B-Fargat – Flezyl Komul [Ketapasando]

Our favorite Madrid-based label within this sonic spectrum opens the year with another release that is deeply characteristic of its curatorial vision. Ketapasando presents the second volume of Composiciones Fungibles, signed by Spanish artist B-Fargat. When such carefully guided curation accompanies the material, the outcome is not only reinforced—it is amplified.

Following the evocative sonic journey of the first installment, B-Fargat returns with a new chapter that expands his electro–IDM universe with greater depth and almost surgical precision. This EP refines the formula: cleaner structures, meticulously detailed textures, and melodies that resonate among glitches, pulses, and modulated frequencies. A work that moves fluidly between the introspective and the cerebral without ever losing its groove.

https://clubfuries.com.mx/2025/10/06/cfp-tr-37-echo-ripples-ktpep039/

B-Fargat’s sound draws directly from bass music, while remaining permeable to the various electronic currents that have shaped his work over time. With a touch of irony, the artist openly acknowledges a form of cultural appropriation, adopting the sonic palette of British electronic music from the 1990s to the present day. He lives—and contradicts himself—within the urban fabric of Barcelona, and has released music on Sin Hilo Records and Antic Mass.

The EP’s conceptual narrative unfolds as follows: a young man, immersed in a vibrant yet overwhelming world, attempts to move only to realize that his body no longer responds. Initial confusion slowly transforms into curiosity when he understands that information is no longer reaching his body. Instead, a complex system of gears surrounding him reacts to every thought, bringing the environment itself to life.

https://soundcloud.com/clubfuriess/cfp-b-fargat-flezyl-komul-ketapasando

After spending time exploring and delighting in the impossible transformations and movements of this new universe, a final realization emerges: everything operates with millimetric precision. Now aware of the potential consequences, he focuses on the only static corner of this shifting reality and sees his own eyes reflected, staring at a clock that measures time.

The EP’s opening track translates this narrative into sound through microscopic chimes, algorithmic robots, and alarms that come and go, constantly orbiting the listener’s psyche. These sounds suggest new possibilities that demand present-day change, wrapped in a nostalgic cybernetic atmosphere that projects uncertain futures. Because when probabilities expand, so does the future itself.

Label: Ketapasando
Artist: B-Fargat
Title: Composiciones Fungibles Vol 2
Catalogue: KTPEP040

Release Date: January 21st, 2026
Support & Buy: Bandcamp

Tracklist
1. Flezyl Komul
2. Tromil de Tri
3. Dipleto Dirás
4. Alzajanilla
5. Trampasera

B – Fargat

SoundCloud | Instagram | Linktree

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

#BFargat #Barcelona #CFPremiere #clubFuries #ClubFuriesPremiere #ComposicionesFungibles #electro #Electronic #Electronica #Experimental #IDM #Ketapasando #KTPEP040 #Madrid #Premiere #Spain #techno

CF Premiere: B-Fargat – Flezyl Komul [Ketapasando]

Our favorite Madrid-based label within this sonic spectrum opens the year with another release that is deeply characteristic of its curatorial vision. Ketapasando presents the second volume of Composiciones Fungibles, signed by Spanish artist B-Fargat. When such carefully guided curation accompanies the material, the outcome is not only reinforced—it is amplified.

Following the evocative sonic journey of the first installment, B-Fargat returns with a new chapter that expands his electro–IDM universe with greater depth and almost surgical precision. This EP refines the formula: cleaner structures, meticulously detailed textures, and melodies that resonate among glitches, pulses, and modulated frequencies. A work that moves fluidly between the introspective and the cerebral without ever losing its groove.

https://clubfuries.com.mx/2025/10/06/cfp-tr-37-echo-ripples-ktpep039/

B-Fargat’s sound draws directly from bass music, while remaining permeable to the various electronic currents that have shaped his work over time. With a touch of irony, the artist openly acknowledges a form of cultural appropriation, adopting the sonic palette of British electronic music from the 1990s to the present day. He lives—and contradicts himself—within the urban fabric of Barcelona, and has released music on Sin Hilo Records and Antic Mass.

The EP’s conceptual narrative unfolds as follows: a young man, immersed in a vibrant yet overwhelming world, attempts to move only to realize that his body no longer responds. Initial confusion slowly transforms into curiosity when he understands that information is no longer reaching his body. Instead, a complex system of gears surrounding him reacts to every thought, bringing the environment itself to life.

https://soundcloud.com/clubfuriess/cfp-b-fargat-flezyl-komul-ketapasando

After spending time exploring and delighting in the impossible transformations and movements of this new universe, a final realization emerges: everything operates with millimetric precision. Now aware of the potential consequences, he focuses on the only static corner of this shifting reality and sees his own eyes reflected, staring at a clock that measures time.

The EP’s opening track translates this narrative into sound through microscopic chimes, algorithmic robots, and alarms that come and go, constantly orbiting the listener’s psyche. These sounds suggest new possibilities that demand present-day change, wrapped in a nostalgic cybernetic atmosphere that projects uncertain futures. Because when probabilities expand, so does the future itself.

Label: Ketapasando
Artist: B-Fargat
Title: Composiciones Fungibles Vol 2
Catalogue: KTPEP040

Release Date: January 21st, 2026
Support & Buy: Bandcamp

Tracklist
1. Flezyl Komul
2. Tromil de Tri
3. Dipleto Dirás
4. Alzajanilla
5. Trampasera

B – Fargat

SoundCloud | Instagram | Linktree

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

#BFargat #Barcelona #CFPremiere #clubFuries #ClubFuriesPremiere #ComposicionesFungibles #electro #Electronic #Electronica #Experimental #IDM #Ketapasando #KTPEP040 #Madrid #Premiere #Spain #techno

CF Premiere: TR-37 – Echo Ripples [Ketapasando]

The new release from our favorite Madrid-based label of the moment is here. Ketapasando presents an EP with two electro tracks, defined by powerful acid lines and meticulous production that expertly balances groove and energy. This is the work of TR-37. «The new fashionable alias in Spain’s electronic scene isn’t 47; it’s been downshifted to 37—though it still packs a punch, just like the goat.»

https://clubfuries.com.mx/2025/08/25/cfp-berman-oldschool-ktpv004/

«TR-37 is the subtraction of three parts. A supergroup of ‘unproducers,’ the Stock Aitken Waterman of a lost generation, Artificial Intelligence without the capital ‘I.’ They were born to die killing, and they’ll do it through acid lines, ghetto rhythms, raver spirit, and rebellious but clean humor.»

«In addition to their studio work, Bruno and Edu are part of T37, a self-managed space in Madrid that functions as a creative hub. At T37, they not only have recording studios to develop their projects, but they’ve also created a place for the community, offering workshops, streaming sessions, and a meeting point for artists and music lovers.»

https://soundcloud.com/clubfuriess/cfp-tr-37-echo-ripples-ktpep039

Their EP on Ketapasando is titled «Ghost Harmonics.» «TR-37 opens the release with a raw and immersive focus, where acid synths snake over a solid and percussive rhythm, evoking the purest essence of the underground. In the second track, they take the intensity one step further, delving into more techno territory with a hypnotic drive and a sheer power that makes it perfect for the dance floor.»

Label: Ketapasando
Artist: TR-37
Title: Ghost Harmonics
Catalogue: KTPEP039

Release Date: October 14th. 2025
Support & Buy: Bandcamp

TR-37

https://www.instagram.com/tetreintaysiete

https://www.instagram.com/tiar_9009

https://www.instagram.com/edungongo

https://www.instagram.com/somerandomer.t37

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Facebook | Bandcamp | Threads | Substack | Linktree

#Acid #CFPremiere #clubFuries #ClubFuriesPremiere #electro #Electronic #Electronica #GhostHarmonics #Groove #Ketapasando #KTPEP039 #Madrid #Premiere #Spain #techno #TR37

Club Furies Premiere: Iron – Skalopendr [Ketapasando]

Ketapasando se define como un “Eclectonic Music Label”, creado para locos propios y locos extranjeros, con sede Madrid, España. Para su más reciente lanzamiento, presentan Skalopendr, el debut de IRON en la disquera. Se trata de una declaración de intenciones para los amantes del techno industrial más visceral.

IRON es el alias bajo el cual Olmo Aguilar, artista de Arcos de la Frontera, se sumerge en los territorios más duros del techno industrial. También conocido como Iron The Communicator, o “la comunicación de sonidos distorsionados”, IRON se caracteriza por su enfoque experimental y un sonido oscuro, que combina bajos profundos y percusiones intensas. Su estilo como IRON explora texturas industriales y rítmicas distorsionadas, una propuesta que se posiciona en la intersección de lo analógico y lo electrónico.

https://soundcloud.com/clubfuriess/cfp-iron-skalopendr-ketapasando

Skalopendr está compuesto de dos pistas, la homónima y All I Want, e incluye una serie de temas cargados de atmósferas densas y sonidos metálicos, que dan forma a un universo sonoro inconfundible. Se trata de un viaje de intensidad in crescendo, pero que al mismo tiempo desde el inicio ya viene con una intensidad tope. Por lo que nos encontramos con intensidades tope de inicio que no obstante siguen creciendo. Esto ocasiona fuertes colisiones psíquicas, que tienen que hacer frente a la exigencia del sonido.

Inspirado en los ambientes post-industriales y en la brutalidad de los ritmos rotos, Skalopendr lleva al oyente a un viaje inmersivo y lleno de tensión. Una tensión que tiene que desahogarse de alguna forma –es correcto: en la pista y en la danza, sudando hasta la fundición. Un lanzamiento que destaca por su potencia y autenticidad, perfecto para los oídos más exigentes de la escena techno actual, y que obscurece de bello underground el clima actual.

Sello: Ketapasando
Artista: IRON
Título: Skalopendr.
Catálogo: KTPEP036

Fecha de Lanzamiento: 11 de Diciembre de 2024
Support & Buy en Bandcamp

Tracklist
1. All I Want
2. Skalopendr

Iron

SoundCloud | Instagram

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Facebook | Bandcamp | X | Linktree

#Acid #ArcosDeLaFrontera #CFPremiere #clubFuries #ClubFuriesPremiere #Dark #Electrónica #Electronic #ElectronicMusic #Electronica #Hardgroove #industrial #IRON #IronTheCommunicator #Ketapasando #KTPEP036 #Madrid #musica #photography #Premiere #Skalopendr #Spain #techno

Review: Empath - Tribute to Vurt, EABE Records (Club Furies, 11 August 2024).

#reviews #recordreviews #Empath #MikkoIhalainen #EABE #EABERecords #JeffNoon #Vurt #cyberpunk #techno #electronic #electro #ambient #industrialtechno #Tampere #Helsinki #Finland #ClubFuries

https://clubfuries.com.mx/2024/08/11/cfr-empath-presents-tribute-to-vurt-by-eabe/